{"status":"ok","message-type":"work-list","message-version":"1.0.0","message":{"facets":{},"total-results":2807,"items":[{"institution":[{"name":"Universitetet i Bergen","acronym":["UiB"],"place":["Bergen"],"department":["KMD"]}],"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T01:36:00Z","timestamp":1648776960596},"reference-count":0,"publisher":"Universitetet i Bergen KMD","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar.1197742","type":"report","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:37:59Z","timestamp":1623055079000},"source":"Crossref","is-referenced-by-count":0,"title":["Whole Waste Catalog"],"prefix":"10.22501","author":[{"given":"Raphael","family":"Perret","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,3,1]]},"deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:38:00Z","timestamp":1623055080000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1197742\/1197743"}},"issued":{"date-parts":[[2021,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1197742","published":{"date-parts":[[2021,3,1]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:10Z","timestamp":1742294410254,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0054","type":"journal-article","created":{"date-parts":[[2022,5,28]],"date-time":"2022-05-28T21:56:10Z","timestamp":1653774970000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Paula Kramer, \"Suomenlinna \/\/ Gropius Two. Contemplations on Body, Movement and Intermateriality\""],"prefix":"10.22501","author":[{"given":"Alys","family":"Longley","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2022,5,28]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:21Z","timestamp":1742292201000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-paula-kramer-suomenlinna-gropius-two-contemplations-body-movement-and-intermateriality"}},"issued":{"date-parts":[[2022,5,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0054","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2022,5,28]]}},{"indexed":{"date-parts":[[2022,3,31]],"date-time":"2022-03-31T18:00:49Z","timestamp":1648749649769},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,12,31]]},"DOI":"10.22501\/ruu.757632","type":"journal-article","created":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T10:44:09Z","timestamp":1577789049000},"source":"Crossref","is-referenced-by-count":0,"title":["VOICES_ruukku_peripheries\/katveet issue: FLOATING PERIPHERIES Conference 2019 \u2013 Sites and Situations"],"prefix":"10.22501","author":[{"family":"Maiju Loukola","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Mari M\u00e4kiranta","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T10:44:09Z","timestamp":1577789049000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/757632\/757633"}},"issued":{"date-parts":[[2019,12,31]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/ruu.757632","published":{"date-parts":[[2019,12,31]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:24:12Z","timestamp":1725927852833},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"DOI":"10.22501\/koncon.1541868","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:33:20Z","timestamp":1725874400000},"source":"Crossref","is-referenced-by-count":0,"title":["An exploration of developing a convincing interpretation of Frank Bridge and Arnold Bax's Cello Sonata's"],"prefix":"10.22501","author":[{"family":"Harry Broom","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:33:22Z","timestamp":1725874402000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1541868\/1541869"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1541868","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:31Z","timestamp":1742358151179,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0029","type":"report","created":{"date-parts":[[2020,7,14]],"date-time":"2020-07-14T08:21:30Z","timestamp":1594714890000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Thor Magnusson \u201cSonic Writing. Technologies of Material, Symbolic and Signal Inscriptions\u201d"],"prefix":"10.22501","author":[{"given":"Angel","family":"Alvarado Cabellos","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,7,14]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:02Z","timestamp":1742292182000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-thor-magnusson-sonic-writing-technologies-material-symbolic-and-signal-inscriptions"}},"issued":{"date-parts":[[2020,7,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0029","published":{"date-parts":[[2020,7,14]]}},{"indexed":{"date-parts":[[2026,6,29]],"date-time":"2026-06-29T22:39:13Z","timestamp":1782772753626,"version":"3.54.5"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0071","type":"journal-article","created":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T08:48:09Z","timestamp":1721033289000},"source":"Crossref","is-referenced-by-count":1,"title":["Review of Hans-J\u00f6rg Rheinberger \"Split and Splice. 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Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The phenomenon of Danger wears many faces. With each set of different circumstances, it changes its guise and triggers new emotional responses in us. As we continue to live more, our experience of Danger gathers more meaning. \u2018Playing with Danger\u2019 is a portrait gallery of sorts, portraits of Danger, each portrait painted in a new light, from a different perspective.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1288568","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T07:52:32Z","timestamp":1622620352000},"source":"Crossref","is-referenced-by-count":0,"title":["The Phenomenon of Danger"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:13Z","timestamp":1784282413000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1288568\/1288569"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1288568","published":{"date-parts":[[2021,6,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:43Z","timestamp":1784282983693,"version":"3.55.0"},"posted":{"date-parts":[[2024,7,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,7,19]],"date-time":"2024-07-19T00:00:00Z","timestamp":1721347200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"will follow.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2931235","type":"posted-content","created":{"date-parts":[[2024,7,19]],"date-time":"2024-07-19T10:11:49Z","timestamp":1721383909000},"source":"Crossref","is-referenced-by-count":0,"title":["SoSe2024 - Why Noise Really Matters (WIP)"],"prefix":"10.22501","author":[{"family":"Alameddine Adel Akram","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:41Z","timestamp":1784282321000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2931235\/2931236"}},"issued":{"date-parts":[[2024,7,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2931235","published":{"date-parts":[[2024,7,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:32Z","timestamp":1784289812103,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T00:00:00Z","timestamp":1615161600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,3,8]]},"abstract":"Falling Like a Monster is a collaborative and creative practice of writing and embodying inter-textuality and multi-modality in order to experiment a non-representational archive known as a two-sided article. This heterogenous crafted piece of writing resists the hegemony of academic and artistic narratives and suggests a transformative knowledge and an alternative practice of political freedom. In our writing, crafting, recording, and failing, we are playing with exhaustion, silence and stillness as monstrous counter-strategies.<\/jats:p>\n keywords: failure, risk, monstrosity, non-representational art, feminism, queer, collaging, video, movement<\/jats:p>","DOI":"10.22501\/ruu.889932","type":"journal-article","created":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T08:56:11Z","timestamp":1615193771000},"source":"Crossref","is-referenced-by-count":0,"title":["falling like a monster"],"prefix":"10.22501","author":[{"family":"Susanna Hast","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-5566-7596","authenticated-orcid":false,"family":"Maryam Bagheri Nesami","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:09:18Z","timestamp":1784286558000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/889932\/889933"}},"issued":{"date-parts":[[2021,3,8]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/ruu.889932","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2021,3,8]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:25:00Z","timestamp":1725927900159},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"After nearly two decades of sleep problems, one question haunts me. Why can\u2019t I sleep? Like many composers, sleep and its mysteries have become an obsession that for myself personally, has inspired an exploration between the conscious and unconscious in relation to the works of The Surrealists, Sigmund Freud and John Zorn.\u00a0Using autobiographical experiences of insomnia; close analysis of scholarly texts and musical scores I will explore the various ways in which musical expression is informed by the concept of sleep. Through this exploration I will establish how the lack of control I experience due to my inability to sleep can aid my own compositional process. I will investigate how these specific artists use psychodynamic theories to take control away from their audiences\u00a0and identify\u00a0what drives their desire\u00a0to musically capture, embody and control what is at its core, the uncontrollable.<\/jats:p>","DOI":"10.22501\/koncon.1581424","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:23Z","timestamp":1725921503000},"source":"Crossref","is-referenced-by-count":0,"title":["Why can't I sleep?: A psychoanalysis of the manifestation of unattainable control through the art of composition."],"prefix":"10.22501","author":[{"family":"Franki\u00a0Dodwell","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:38:23Z","timestamp":1725921503000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1581424\/1586731"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1581424","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2025,7,11]],"date-time":"2025-07-11T12:10:07Z","timestamp":1752235807378,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0082","type":"journal-article","created":{"date-parts":[[2025,7,11]],"date-time":"2025-07-11T11:39:31Z","timestamp":1752233971000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Rick Rubin, \u201cThe Creative Act: A Way of Being\u201d"],"prefix":"10.22501","author":[{"given":"Matthew Ryan","family":"Smith","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2025]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,7,11]],"date-time":"2025-07-11T11:39:32Z","timestamp":1752233972000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-rick-rubin-creative-act-way-being"}},"issued":{"date-parts":[[2025]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0082","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2025]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:20Z","timestamp":1784286380454,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,1,8]],"date-time":"2023-01-08T00:00:00Z","timestamp":1673136000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,1,8]]},"abstract":"This research is an exploration into stimulating autonomy and active learning in musical tuition. Through an explorative journey in my teaching practice I developed tools to increase autonomy, active learning and self-regulation in students, using the self-determination theory, new learning and self-regulation as the main learning theories to find answers to my research question. In my lesson practice students rarely come in as active-, self-directing autonomous learners. However, literature and experiences of other teachers, show us that students \u2013 even beginners \u2013 can learn to become active, self-directed learners. It is not common practice yet to implement these theories in music classes. This is why I would like to create a toolkit and a user manual for teachers that would like to incorporate autonomy supportive teaching and self-regulation in their practices. I will also create a blueprint to inspire working with blended programs in music classes. A flipped classroom can trigger an ongoing learning process in the week, it can aid students in their practice and it is a tool to reflect on teaching practices, teaching styles and programs. The research took place in the BASIS oboe classes at the School for Young Talent, in The Royal Conservatoire of The Hague. There were 5 beginning oboe players, in the age group of 7 till 13 years. I used a combination of design and action research. With the design research I developed the online learning space and the tools for active learning and self-regulation. With action research I reflected on my teaching, students learning, development and well-being and the use of the tools. It was possible to use learning theories in different ways. I used tables and frameworks to reflect on my teaching, I used existing tools, I tailored tools to the age group of my students and I combined aspects of active learning and self-regulation. After three design cycles there is a blueprint of a toolkit that can be used in a flexible way and there is a blueprint for blended learning in instrumental music classes. The changes in my teaching style, the implementation of the learning theories and the reflections on the program using the online environment had a great impact on the teacher \u2013 student dialogue, the content of my lessons and the overview of the program. In students I saw an increase in motivation, autonomy and effectiveness. They are very engaged young learners, they learned to choose repertoire and strategies in their practice, they are able to plan, practice and reflect on their process and they have covered more repertoire and technique over the last year in comparison to the year before. They started sharing their music outside of classes and started thinking about their own goals in their oboe practice.<\/jats:p>\n keywords: autonomy, active learning, self-regulation, blended learning, quality practice<\/jats:p>","DOI":"10.22501\/koncon.1304958","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:53Z","timestamp":1725907073000},"source":"Crossref","is-referenced-by-count":0,"title":["How can autonomy and active learning be stimulated in a blended oboe class program?"],"prefix":"10.22501","author":[{"family":"Irma Kort","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:33:34Z","timestamp":1784284414000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1304958\/1304727"}},"issued":{"date-parts":[[2023,1,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1304958","published":{"date-parts":[[2023,1,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:43Z","timestamp":1784286223954,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T00:00:00Z","timestamp":1603756800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,27]]},"abstract":"Within my practice as an artist that draws upon my professional experience as a fashion stylist, I have undertaken a broad range of practice-based projects in the last thirteen years that deal with the identity and dress. This exposition seeks to use Virginia Woolf\u2019s notion of frock consciousness as a framework to demonstrate how each of the projects has contributed to a body of research that has enabled me to make a contribution to knowledge in terms of how the practice of dressing ourselves impacts upon one\u2019s consciousness and experience of being in the world. Lisa Cohen in her essay \"Frock Consciousness\u201d: Virginia Woolf, the Open Secret, and the Language of Fashion (1999) reminds us that, whilst the idea of frock consciousness discussed by Woolf in her diary of 1925 might at first appear to be an oxymoron, one word concerned with coverings and the other a quality of mind, clothes \u201clie between what we understand to be public space (the social world at large), and what we consider private (the body of an individual)\u201d (150:1999).<\/jats:p>\n keywords: fashion practice research, dress, embodiment, frock consciousness, affect, autoethnography<\/jats:p>","DOI":"10.22501\/jar.590685","type":"journal-article","created":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T16:57:20Z","timestamp":1603817840000},"source":"Crossref","is-referenced-by-count":0,"title":["Interrogating the notion of 'frock consciousness' through the practice of dressing and responding to dressed bodies"],"prefix":"10.22501","author":[{"family":"Jennifer Anyan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:07:21Z","timestamp":1784282841000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/590685\/967683"}},"issued":{"date-parts":[[2020,10,27]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jar.590685","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2020,10,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:02Z","timestamp":1784283002363,"version":"3.55.0"},"posted":{"date-parts":[[2022,1,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,1,9]],"date-time":"2022-01-09T00:00:00Z","timestamp":1641686400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Green Thing - double forever - VIS draft exposition Green Thing is an ongoing collaborative art work, a negotiated creative exchange, between 2 artists, who are also daughter and father; actively engaging in a dialogue about Green Things. \u2018Greeness\u2019 is explored in relation to how this manifests and develops symbolically, physically, historically, and within each of our practices. Creating, documenting, performing and sharing exploratory processes: collaboratively producing an evolving, palimpsestic work. We recently completed a remote, online iteration of this project, Green Thing pt.2 [Green thing pt. 1 was undertaken in March 2020 in the Pipe Factory, Glasgow] while in residence at 2\/42 Studios, in the Pipe Factory, Glasgow as part of their Remote Series: work accumulated daily over the span of one week, created by both Higgins\u2019 (Glasgow and Sheffield), in tandem, but apart, which culminated on Thurs 16th at 19.30-20.30PM (UK) with a live online screening and conversation. We Green Thing pt.3 - double forever - will be extracting conversations, dialogues, and forms to mould a further iteration. Green becomes contagious in this way. The work multiplies, fluctuates, is transmitted between one another, released upon the public. It mutates and it passes back between us, it divides and multiplies. After the last iteration, we couldn\u2019t stop seeing Green. It is palimpsestically created, not only because we write over one another, talk over one another, and create together and in relay, but because we are palimpsestic. Our relationship by its very nature means that, whilst we have many different lived experiences, it is essentially shared. We literally share blood and guts. This genetic presupposition results in eerie, unspoken tangents and patterns. It also proves great distinctions. Further from Green thing pt.2, - double forever - will more directly bring together themes around Green, Space, Bile, and Solidarity, to reflect the cyclical interrelational relationship each of these areas have with one another. Right now, green space looks and feels very different than it used to, bile is seen in a heightened state, and solidarity is more important than ever - but we cannot translate these things as we would instinctively; humans have to interact differently. The Greeness within this is rife and key to understanding the progression of psychological, geographical shifts in society as we see it. Green Thing pt.3 - double forever - whilst explorative in its very essence, feels a formalisation of this palimpsest, although still created in perpetual transmission utilised and exploited through the research catalogue as a framework for it\u2019s latest form\u2026.A dialogue produced between us through various online platforms - remotely.realised etc \u2026.is the world we are in, \u2026\u2026..to be formed through and in the RC<\/jats:p>\n keywords: artistic research, representaion<\/jats:p>","DOI":"10.22501\/rc.1042032","type":"posted-content","created":{"date-parts":[[2022,1,9]],"date-time":"2022-01-09T10:31:50Z","timestamp":1641724310000},"source":"Crossref","is-referenced-by-count":0,"title":["Green thing - part 3"],"prefix":"10.22501","author":[{"family":"d+g","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:56Z","timestamp":1784282396000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1042032\/1042033"}},"issued":{"date-parts":[[2022,1,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1042032","published":{"date-parts":[[2022,1,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:29Z","timestamp":1784286449837,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,5,9]],"date-time":"2019-05-09T00:00:00Z","timestamp":1557360000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,5,9]]},"abstract":"Name Pim Witvrouw Main Subject Music TheorySupervisorsPaul Scheepers \/ David Kuijken Title of Research Towards an integrated method for practicing: internalizing the composer\u2019s language Research Question In which ways can we use the outcome of an analysis to develop a practice method focused on learning the general musical language of a score, instead of just memorizing the right notes?Summary of Results Musicians who could very well play, improvise and compose wrote down the majority of repertoire, which we encounter as Western classical musicians. In conservatories and music schools often an attitude towards classical music is developed from a narrower point of view: learning and performing a score. There are extra classes in solfeggio, harmony, improvisation, analysis and counterpoint. However, the reality is that, for most students these subjects are not connected to their practice as instrumentalists. As a pianist, I don\u2019t use all the resources I have as a theorist, and there seems to be a separation between these two practices. Might there be a different way to start practicing a classical work? For the purposes of my research I have chosen one piece as a case study: the first movement of Beethoven's piano sonata n. 31 (op. 110, in A flat major). First I analysed the movement and then I looked at what I can do with the data generated from the analysis. I developed some exercises in order to prepare one for studying the actual work. These exercises could bring theoretical knowledge and improvisation skills into the instrumental lessons and give the player a deeper insight into Beethoven\u2019s harmonic language and use of formal structures. Further research is necessary in order to work out these exercises for more repertoire of all levels, styles and even instruments. It is my intention with this research and future work to bring music theory and activities in the practice rooms of musicians closer together. Biography Pim Witvrouw began his professional music studies at the Young Talent Department of the Lemmensinstituut in Leuven (Belgium) where he studied piano with Stefan Celen. He continued to study in the Netherlands at the Utrecht Conservatory, where he studied with Paolo Giacometti. In addition to this he studied musicology at the University of Utrecht. Pim is currently engaged giving piano lessons and music theory classes at the CKV-Almere. Since September 2018 he also teaches music theory at the Conservatory of Zwolle. In recent years he performed a solo program devoted to works of J.S. Bach.<\/jats:p>\n keywords: composition, performing, theory in performing, op. 110, Ludwig van Beethoven<\/jats:p>","DOI":"10.22501\/koncon.529638","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:43:18Z","timestamp":1725907398000},"source":"Crossref","is-referenced-by-count":0,"title":["Towards an integrated method for practicing: internalizing the composer\u2019s language."],"prefix":"10.22501","author":[{"family":"Pim Witvrouw","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:45:49Z","timestamp":1784285149000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/529638\/529644"}},"issued":{"date-parts":[[2019,5,9]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.529638","published":{"date-parts":[[2019,5,9]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:27Z","timestamp":1784286267374,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T00:00:00Z","timestamp":1512864000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,12,10]]},"abstract":"Stop and Go is a research project investigating physical and social transformation at nodes and hubs of transnational mobility and migration alongside major pan-European road corridors in a geographic triangle between Vienna, Tallinn, and the Bulgarian-Turkish border. It draws on intensive embedded field trips with a mobile lab (a Ford Transit van) using (deep) mapping, workshops, installations, and exhibitions both on tour and in a stationary work space in a Vienna logistics hub (a former railway station). Intermediate and final results have been represented in diagrammatic drawings, maps, and (animated) graphic novels.<\/jats:p>\n keywords: mobility, migration, anthropology, artistic research, urban space, rhythm, mapping, graphic novel, animation<\/jats:p>","DOI":"10.22501\/jar.330596","type":"journal-article","created":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T17:26:57Z","timestamp":1512926817000},"source":"Crossref","is-referenced-by-count":0,"title":["Stop and go: nodes of transformation and transition"],"prefix":"10.22501","author":[{"family":"Michael Zinganel","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Michael Hieslmair","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:24Z","timestamp":1784283084000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/330596\/330597"}},"issued":{"date-parts":[[2017,12,10]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jar.330596","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2017,12,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977078,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I stand on the Jichuk Station platform. The sun comes, not a train. Sweat gathers. Sad, soon.Because one (I can\u2019t write \u2018person\u2019 here) was pushed to their death, screen doors were installed afterwards. Because another, checking whether screen doors closed in time, was trapped between them and died.I go, sensing what has passed. Perception acts as memory. It is heavy to carry.The weight poses its question here: Why this living, that begins every day before I choose it? And for what?Jesus. Logos.It reaches no further\u2014going around seeking the shadows, to let light fall there. For the darkness visible to this species is its own invention. Such a division of realms is not natural.Breathing with what remains behind inscription, I live this:Try freezing a cry solid. Break into pieces. Hold in the mouth. Chew.If it tastes right, eat on until the cry stops.The stomach, unknown, testing how far we can swell,a universe always larger than whatever we eat.No burst, likely.The cry cube crunches,pricking in the ear.In a club.Catch the beat.<\/jats:p>\n keywords: Nervous systems, Perception, Association, Archive<\/jats:p>","DOI":"10.22501\/rc.4102830","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T06:01:56Z","timestamp":1774418516000},"source":"Crossref","is-referenced-by-count":0,"title":["PHYSIS"],"prefix":"10.22501","author":[{"family":"An Dui","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:57Z","timestamp":1784282217000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4102830\/4102831"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4102830","published":{"date-parts":[[2026,3,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950932,"version":"3.55.0"},"posted":{"date-parts":[[2025,2,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,23]],"date-time":"2025-02-23T00:00:00Z","timestamp":1740268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Denne leira og beholderen representerer bl\u00e5leire som en del av et industrilandskap i prosjektet.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, teglindustri, enebakk leireuttak, bl\u00e5leire og brunleire fra enebakk leireuttak, leca fabrikken, LECA, ravinelandskap, brunleire, ekstraktiv industri<\/jats:p>","DOI":"10.22501\/rc.2945926","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:09:15Z","timestamp":1740722955000},"source":"Crossref","is-referenced-by-count":0,"title":["Bl\u00e5leire og brunleire fra Enebakk leireuttak"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:22Z","timestamp":1784282302000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2945926\/2945789"}},"issued":{"date-parts":[[2025,2,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2945926","published":{"date-parts":[[2025,2,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:27Z","timestamp":1784289927178,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2021,12,6]],"date-time":"2021-12-06T00:00:00Z","timestamp":1638748800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,12,6]]},"abstract":"The article investigates the mediation of homey ambiences or domestic atmospheres and their relation to the outdoors in film and media productions. The article examines how human mediation impacts the perception of site-specific ambient sounds of the home that are aesthetically deployed as auditory backdrops in films and media artworks. The focus is on examining\u00a0the processes of reconstructing the site of the home through the reproduction, mediation, and rendering of the relatively closed and private indoor sonic environment and its complex relationship to the public outdoors.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.1440447","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:12Z","timestamp":1733131512000},"source":"Crossref","is-referenced-by-count":0,"title":["Room Ambience: Home as Heard in Film and Media Arts"],"prefix":"10.22501","author":[{"family":"Budhaditya Chattopadhyay","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:35:01Z","timestamp":1784288101000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1440447\/1440448"}},"issued":{"date-parts":[[2021,12,6]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jss.1440447","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2021,12,6]]}},{"indexed":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T07:10:51Z","timestamp":1648537851732},"posted":{"date-parts":[[2022,1,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1097305","type":"posted-content","created":{"date-parts":[[2022,1,9]],"date-time":"2022-01-09T19:11:43Z","timestamp":1641755503000},"source":"Crossref","is-referenced-by-count":0,"title":["Assignment #6"],"prefix":"10.22501","author":[{"family":"Minke Kullberg","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2022,1,9]],"date-time":"2022-01-09T19:11:44Z","timestamp":1641755504000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1097305\/1097732"}},"issued":{"date-parts":[[2022,1,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1097305","published":{"date-parts":[[2022,1,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T05:29:32Z","timestamp":1740806972672,"version":"3.38.0"},"posted":{"date-parts":[[2025,2,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,27]],"date-time":"2025-02-27T00:00:00Z","timestamp":1740614400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Psychoanalysis is always targeted in theory with armchair theorizing. A very distorted sense of the phenomena from the armchair introspection and speculation and almost-limited theorizing in behavioral psychologies and even in psychoanalysis invests itself in human experiential stances instead of objective observation. To construct a theory based upon these phenomena, however, there\u2019s too much data. What psychoanalysts do is to demonstrate to the people, through self-experiments, how simple it is to misunderstand what is actually in their consciousness and in their first-person data. What\u2019s remarkable about consciousness is that it is not continuous. There are countless voids in the information of consciousness, some of which work in the psychoanalytic experience of diagnosing symptoms in first- person data, the beliefs about the experiences to which individuals have exclusive access. Its discontinuity, the voids and the holes are limited to these beliefs. For the fact that language works discursively, humans may renounce their privileged access to these experiences and shift their focus from what they believe to what actually is the case. In the end, there will be a scientific narrative in which the conscious self will not be a character. A living body, a living brain, and everything else is all that exists. The first-person narrative would be extracted from that third-person account. The conscious self never exists in any other sense. Thinking that it would exist is the illusion.<\/jats:p>\n keywords: psychoanalysis, virtual reality, Discourse<\/jats:p>","DOI":"10.22501\/rc.3451399","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:07:41Z","timestamp":1740740861000},"source":"Crossref","is-referenced-by-count":0,"title":["Psychoanalysis for the Virtual Reality"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:07:42Z","timestamp":1740740862000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3451399\/3451398"}},"issued":{"date-parts":[[2025,2,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3451399","published":{"date-parts":[[2025,2,27]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T10:09:34Z","timestamp":1784110174144,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/vis","type":"journal","created":{"date-parts":[[2018,4,9]],"date-time":"2018-04-09T03:14:17Z","timestamp":1523243657000},"source":"Crossref","is-referenced-by-count":0,"title":["VIS - Nordic Journal for Artistic Research"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:33:03Z","timestamp":1784107983000},"score":0.0,"resource":{"primary":{"URL":"http:\/\/www.visjournal.nu"}},"short-title":["VIS - Nordic Journal for Artistic Research"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/vis","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}]},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:28Z","timestamp":1784290048173,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2017,12,14]],"date-time":"2017-12-14T00:00:00Z","timestamp":1513209600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,12,14]]},"abstract":"With the proliferation of the iPod and related audio mobile technologies in our daily experiences, Shuhei Hosokawa\u2019s \u201cThe Walkman Effect\u201d (1984) gains new significance. While exploring the locative aspects of these technologies for media art, I elaborate on Hosokawa\u2019s idea of a \u201csecret theatre\u201d by paralleling it to some compelling concepts in audio (culture) studies, such as Michael Bull\u2019s \u201cauditized looking,\u201d Elisabeth Weis\u2019 \u201c\u00e9couterism,\u201d Denis Hollier\/Jean Paul Sartre\u2019s \u201cauditory gaze,\u201d and Steven Connor\u2019s \u201cmodern auditory I.\u201d As case studies, I focus on three performative audio walks that all took place in train stations around 2012-2013: Janet Cardiff\u2019s Alter Bahnhof, Dries Verhoeven\u2019s Niemandsland, and Judith Hoffland\u2019s Like Me. Each in their own right reconfigures the urban experience by means of locative features and interactive relations with their environments. These art works help to see Hosokawa\u2019s \u201csecret theatre\u201d in a new light of highly individualized yet relational aesthetic experiences that open our ears and eyes to an outside social context and reality rather than shut them off.<\/jats:p>\n keywords: Journal of sonic studies, sound, spatial turn, Urban cultures, technology, Sonic Studies<\/jats:p>","DOI":"10.22501\/jss.411830","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:02Z","timestamp":1733131622000},"source":"Crossref","is-referenced-by-count":0,"title":["The Secret Theatre Revisited: Eavesdropping on Locative Media Performances"],"prefix":"10.22501","author":[{"family":"Pieter Verstraete","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:46:12Z","timestamp":1784288772000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/411830\/411831"}},"issued":{"date-parts":[[2017,12,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jss.411830","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2017,12,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:46Z","timestamp":1784290066569,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2016,7,10]],"date-time":"2016-07-10T00:00:00Z","timestamp":1468108800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,10]]},"abstract":"This paper explores some of the acoustic landscapes of Rajarhat New Town, a satellite city and special economic zone (SEZ) in West Bengal, Kolkata. Establishing these landscapes in their physical and economic geographies of primitive accumulation from farmland to IT parks, this paper indicates the potential for incorporating a sonic method into how urbanizing spaces are approached and understood. By crossing affective and semiotic registers, it argues for a perspective that brings the sensitivities of listening to the analytical practices of the social sciences. Through such interdisciplinarity, soundings become a means to engage with, and elaborate upon, contemporary social-economic and political landscapes. At the same time, the paper stages some possibilities for incorporating geo-economic and political critiques into sound discourses and practices.<\/jats:p>\n keywords: sound, geopolitics, Rajarhat New Town, primitive accumulation, atmospheres<\/jats:p>","DOI":"10.22501\/jss.286764","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:13Z","timestamp":1733131633000},"source":"Crossref","is-referenced-by-count":0,"title":["A brief proposition toward a sonic geo-politics: Rajarhat New Town"],"prefix":"10.22501","author":[{"family":"Anja Kanngieser","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:49:34Z","timestamp":1784288974000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286764\/286765"}},"issued":{"date-parts":[[2016,7,10]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.286764","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2016,7,10]]}},{"indexed":{"date-parts":[[2025,1,10]],"date-time":"2025-01-10T05:12:02Z","timestamp":1736485922909,"version":"3.32.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,1,9]]},"abstract":"Transforming with the Artistic Palette\n\n\u2018Transforming with the Artistic Palette\u2019 is my PhD project in artistic research, a practice-led exploration of performer creativity, agency and collaborative composition, carried out at the Norwegian Academy of Music in the years 2018\u20132024. \n\nThe central idea of the project is the conceptualization of the artistic palette. The artistic palette comprises the skills and abilities I use in creative work (skillabilities). It develops with the creative work I engage in and is active in imaginative as well as evaluative processes. The artistic palette has been explored in collaborative work with five composers as well as in an own composition. I have explored it as a multidimensional concept, comprising embodied, contextual, relational and intuitive dimensions. By engaging with the artistic palette, new sonic materials and work methods have been created and I have shared compositional processes as a co-composer. It is a poetic and dynamic concept that keep developing with my experiences. By using my artistic palette in shared work, I have explored and expanded my creativity as a performer of contemporary classical music.\n\nThe five composers involved in the project come from a diverse background of styles, aesthetics and compositional approaches, as minimalistic music, improvisation and music theatre. Some of the creative partnerships build on previous work together. The works created in the project are Gradients (2023) by Karin Hellqvist and Henrik Strindberg, Solastalgia (2022) by Carola Bauckholt and Karin Hellqvist, One and the Other (Speculative Polskas for Karin) (2021\u201322) by Liza Lim with Karin Hellqvist, Eiksmarka Omland (2024) by Christian Wallumr\u00f8d and Karin Hellqvist, Pango (2021\u201324) by Karin Hellqvist and Chain of Triggers (2024) by Manos Tsangaris and Karin Hellqvist.\n\nThrough the artistic processes undertaken in this project, I have experienced a transformation of my performer\u2019s role into an increasingly creative one. From seeing myself as a faithful performer of works, I have come to view myself as a creating artist involved in the whole lifecycle of the works I perform and co-compose. By exploring the artistic palette in shared work, thoughts about connection, identity, responsibility, empowerment, complementarity, taste, ownership and transformation has come to the fore in my practice. Those topics are discussed across the works created in the project.\n\nThe methodology of the project is rooted in the specific forms of collaborative composition it comprises; engaging in improvisation, developing technological skills, accessing embodied performance materials, engaging in interdisciplinary work with a printed publication and developing connection through cyclical patterns of work where materials are circulated between participants. A curatorial process of selecting material for research has along with text writing, peer-review and publication processes been important research methods of the project.\n\nThe structure of this reflection is a compilation of six case studies wrapped with an introduction and a closing discussion. The reflection has been created over the course of the project and includes four already published articles. The project is situated in a broad artistic- and research field with connections to other collaborating performers and composers, artist researchers who develop their performance practices, historical composer-performer collaborations and the rich artistic contexts of the involved artists. I draw on theories of collaborative composition (Taylor, Lim, \u00d6stersj\u00f6, John-Steiner), Werktreue (Goehr), embodied knowledge (Merleau-Ponty, L\u00fcneburg), eco-anxiety (Albrecht) and identity (Hargreaves, Markus & Nurius).<\/jats:p>","DOI":"10.22501\/nmh-ar.2225687","type":"journal-article","created":{"date-parts":[[2025,1,9]],"date-time":"2025-01-09T08:25:47Z","timestamp":1736411147000},"source":"Crossref","is-referenced-by-count":0,"title":["Transforming with the Artistic Palette"],"prefix":"10.22501","author":[{"family":"Karin Emilia Hellqvist","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2025,1,9]],"date-time":"2025-01-09T08:25:49Z","timestamp":1736411149000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2225687\/2225688"}},"issued":{"date-parts":[[2025,1,9]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2225687","published":{"date-parts":[[2025,1,9]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:17Z","timestamp":1784282957352,"version":"3.55.0"},"posted":{"date-parts":[[2026,7,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,7,1]],"date-time":"2026-07-01T00:00:00Z","timestamp":1782864000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Collection of letters that I wrote in memory of the authentic self that my identity strives to be.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3288691","type":"posted-content","created":{"date-parts":[[2026,7,1]],"date-time":"2026-07-01T12:37:20Z","timestamp":1782909440000},"source":"Crossref","is-referenced-by-count":0,"title":["An Ode to the Self that Remembers"],"prefix":"10.22501","author":[{"family":"Julia Maria","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:30Z","timestamp":1784282190000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3288691\/3288690"}},"issued":{"date-parts":[[2026,7,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3288691","published":{"date-parts":[[2026,7,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:54:51Z","timestamp":1781538891010,"version":"3.54.5"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0094","type":"journal-article","created":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:04:24Z","timestamp":1781535864000},"source":"Crossref","is-referenced-by-count":0,"title":["(Una investigaci\u00f3n desbordada: reflexiones a partir del libro de) Ana Harcha, Francisca Montes y Felipe Cort\u00e9s, Las potencias vitales de las tierras fronterizas"],"prefix":"10.22501","author":[{"given":"Carolina","family":"Benavente Morales","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","published-online":{"date-parts":[[2026,6,15]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:04:24Z","timestamp":1781535864000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/una-investigacion-desbordada-reflexiones-partir-del-libro-de-ana-harcha-francisca-montes-y-felipe"}},"issued":{"date-parts":[[2026,6,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0094","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2026,6,15]]}},{"indexed":{"date-parts":[[2026,5,22]],"date-time":"2026-05-22T11:04:56Z","timestamp":1779447896707,"version":"3.53.1"},"posted":{"date-parts":[[2026,5,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,22]],"date-time":"2026-05-22T00:00:00Z","timestamp":1779408000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"pseudonym testpseudonym testpseudonym testpseudonym testpseudonym testpseudonym testpseudonym testpseudonym test<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4476164","type":"posted-content","created":{"date-parts":[[2026,5,22]],"date-time":"2026-05-22T10:09:03Z","timestamp":1779444543000},"source":"Crossref","is-referenced-by-count":0,"title":["pseudonym test"],"prefix":"10.22501","author":[{"family":"pseudopseudopseudopseudopseudopseudo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,22]],"date-time":"2026-05-22T10:09:03Z","timestamp":1779444543000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4476164\/4476165"}},"issued":{"date-parts":[[2026,5,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4476164","published":{"date-parts":[[2026,5,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:47Z","timestamp":1784290127945,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T00:00:00Z","timestamp":1764720000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2025,12,3]]},"abstract":"The project Mediation as Discipline is an attempt to buildbridges between disciplines and make the experience-based knowledge that the contemporary art field can offer relevant to a broader academic community. At the same time, it is an investigation of needs within the field itself, which should be served by a university that prides itself on having an artistic faculty. This report, carrying the same name as the project, is based on a comprehensive survey among contemporary art mediators conducted in 2024 by the project group, and it examines the foundation for specialised education for mediators of contemporary art in Norway.<\/jats:p>\n keywords: KMD_Art<\/jats:p>","DOI":"10.22501\/kmd-ar.3942538","type":"journal-article","created":{"date-parts":[[2025,12,3]],"date-time":"2025-12-03T10:30:53Z","timestamp":1764757853000},"source":"Crossref","is-referenced-by-count":0,"title":["Formidling som fagfelt"],"prefix":"10.22501","author":[{"family":"Anne Szefer Karlsen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:56:12Z","timestamp":1784289372000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3942538\/3942539"}},"issued":{"date-parts":[[2025,12,3]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.3942538","published":{"date-parts":[[2025,12,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:47Z","timestamp":1784289887615,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T00:00:00Z","timestamp":1687737600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"PhD project: Ancestral Junctures: on the expansion of ancestral mythologies, Supervisor: Hans SchabusEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2105152","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T18:18:21Z","timestamp":1714069101000},"source":"Crossref","is-referenced-by-count":0,"title":["Queer Ancestral Mythologies"],"prefix":"10.22501","author":[{"family":"Cor\u00e7 George Demir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:25:30Z","timestamp":1784287530000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105152\/2105142"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2105152","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:52Z","timestamp":1784283052236,"version":"3.55.0"},"posted":{"date-parts":[[2015,8,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2015,8,24]],"date-time":"2015-08-24T00:00:00Z","timestamp":1440374400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Can pieces of dance tunes from Nordic folk music, organized according to principles from jazz, provide source material for building an improvisation language?Scandinavian folk music traditionally used for dancing consists of melodies, organized in a limited amount of measures and sections (typically two or three eight-bar sections, played with repeats). The organizing principle in ensemble playing is for every musician to learn the melody first, and to let each following contribution be dictated by it. Variations in arrangements occur frequently in modern-day interplay, with harmony parts, chord changes, counter rhythms and dynamics meticulously employed in order to avoid monotony. But interpretation of the melody remains the main activity.The ability for creativity on the spot is big among folk musicians, though it is seemingly framed by the strategies discussed above. I have yet to come across a methodical investigation of using material from traditional tunes as a musical vocabulary for improvisation. Consulting supervisors from the folk and jazz genres, I try to use source elements from the folk repertoire while employing organizing principles from jazz. As I present these ideas on several instruments, and over rhythmic foundations in a slightly modernized folk idiom, I'll try to encourage the use of these ideas in contexts not necessarily associated with traditional music. The project seeks to encourage participation, and may possibly work as tutorial material.This exposition focuses on portions of a Pd.D.-level project I finished in 2009. The original three-year undertaking was supported by the Norwegian Artistic Research Programme, hosted by NTNU, and was supervised by John-P\u00e5l Inderberg and Geir Egil Larsen. The current version was supported by HiNT University College.<\/jats:p>\n keywords: Improvisation, folk music, methodology<\/jats:p>","DOI":"10.22501\/rc.148237","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:53:38Z","timestamp":1498053218000},"source":"Crossref","is-referenced-by-count":0,"title":["FolkImproV"],"prefix":"10.22501","author":[{"family":"Andreas Aase","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:00Z","timestamp":1784282460000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/148237\/149611"}},"issued":{"date-parts":[[2015,8,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.148237","published":{"date-parts":[[2015,8,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:28Z","timestamp":1784369068674,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2024,10,30]],"date-time":"2024-10-30T00:00:00Z","timestamp":1730246400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2024,10,30]]},"abstract":"The project \u201cEchoes from the torn down fourth wall\u201d aims to build bridges between contemporary-music-as-an-art-form and community singing within songs from the Danish songbook \u2018H\u00f8jskolesangbogen\u2019. In a hybrid concert format created for the project, within the context of an abstracted approach to intense, improvised concert music, several passages with community singing occur, where the audience sings along in songs they know. The research process has investigated how to create a musical environment that might bridge the different positions (art music and community singing), how the idea of the listener\/spectator can be negotiated within different art domains and how, from a genre perspective, the project can be narrated as a meeting between confirming and destabilising forces. What is being reimagined in the project is not so much the past itself, and not necessarily established narratives about the past, but rather possible current and future narratives of how we may reinterpret songs from the past \u2013 together. What is being revealed is not so much specific perspectives in the past but rather hidden potentials in how a majority cultural assemblage like H\u00f8jskolesangbogen may be renegotiated.<\/jats:p>\n keywords: f\u00e6llesskab, community, f\u00e6llessang, singing, community singing, art music, music, improvisation, outreach, genre, listening, participation, deltagelse, kunstmusik, musik, embodied cognition, kropsliggjort erkendelse, tilskuerroller, engagement, reception, Repetition and difference, destabilisation, folklore, national identity<\/jats:p>","DOI":"10.22501\/rmc.3026165","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T05:43:00Z","timestamp":1737524580000},"source":"Crossref","is-referenced-by-count":0,"title":["Echoes from the torn down fourth wall - UK version"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:18:21Z","timestamp":1784366301000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3026165\/3026166"}},"issued":{"date-parts":[[2024,10,30]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/rmc.3026165","published":{"date-parts":[[2024,10,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:35Z","timestamp":1784282975916,"version":"3.55.0"},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u2018staats-theater: Lagos\/Teheran\/Berlin\u2019 is a modular art and research project initiated by Berlin based video artists Daniel K\u00f6tter and Constanze Fischbeck in collaboration with performers and architects from Lagos, Tehran, and Berlin, as well as the collective Hunter & Gatherer (Manuel Shvartzberg and Fabian Faltin). The project undertakes an exemplary investigation of the state-representational and socio-political conditions of theatre and the opposing informal potential of performativity in three capital cities: Lagos (Nigeria), Tehran (Iran) and Berlin (Germany).<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.9434","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:11Z","timestamp":1497983831000},"source":"Crossref","is-referenced-by-count":0,"title":["staats-theater"],"prefix":"10.22501","author":[{"family":"Daniel K\u00f6tter","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Constanze Fischbeck","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:24Z","timestamp":1784282184000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/9434\/9832\/40\/40"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.9434","published":{"date-parts":[[2011,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:54Z","timestamp":1784283054509,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,10]],"date-time":"2020-12-10T00:00:00Z","timestamp":1607558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition presents an approach to how to investigate and apply musical parameters, which articulate the unsystematic and unmathematical characteristics of natural features. The research project took place at the University of Bergen, Faculty of Art, Music and Design, Grieg Academy from 2018 to 2020. The main artistic result was presented as a musical album called I Had a Dream by PAN.<\/jats:p>\n keywords: improvisation, contemporary music, extended techniques, composition tools<\/jats:p>","DOI":"10.22501\/rc.1071739","type":"posted-content","created":{"date-parts":[[2020,12,10]],"date-time":"2020-12-10T11:54:18Z","timestamp":1607601258000},"source":"Crossref","is-referenced-by-count":0,"title":["Natureous Music"],"prefix":"10.22501","author":[{"family":"Jung-Jae Kim","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:28Z","timestamp":1784282428000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1071739\/1083500"}},"issued":{"date-parts":[[2020,12,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1071739","published":{"date-parts":[[2020,12,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:46Z","timestamp":1784286526839,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Jonathan BonnyMain Subject: Classical PercussionResearch Supervisors: Gerard Bouwhuis, Fedor TeunisseTitle of Research: IN \u2013 the creation of an immersive music performance Research Question: How can immersive performance concepts be used to create a better connection between a musician and his audience? Summary of Results: In my research, I reflected on several aspects of a concert and how I want to communicate with my audience. Throughout the research I realised that finding ways to immerse an audience is easier said than done. My belief in immersion as a tool to guide listeners towards a certain atmosphere, attitude or interpretation is nevertheless still as strong as before. More than ever, I am convinced that this is the way for me to perform. This is particularly the case for contemporary music where inexperienced listeners might appreciate some guidance. This paper aims to inform (performing) readers of the possible (positive and negative) consequences of creating an immersive performance. Creating an immersive performance is difficult. It takes a lot of time, something musicians often do not have. In addition to learning the music, the performer needs time to brainstorm about the kind of immersion that supports the musical idea and does not distract from it. The line between the two is very thin. Once the immersion concept is established it often takes a lot of preparation to execute it. To bring elaborate ideas to fruition musicians will need the help of technicians, engineers, other artists etc. This explains why immersive performances are often organised by ensembles that rely on a bigger production team and budget. The danger here lies in the fact that those teams are often too far removed from the actual content of the music. Realising this made me think about other ways to connect with an audience. I concluded that besides immersion, also attitude and mindset are very powerful tools to decrease the distance between a performer and the audience. Low-tech solutions like literally performing very close to or surrounded by them are very effective to emotionally connect with the audience. Because of the reflective character of the topic I chose to write my dissertation in the form of an essay. My goal is not to present 'the ultimate truth' but to inspire myself and other musicians to create a personal (contemporary) performing identity. Biography: Jonathan Bonny (\u00b01992, Bruges) studied classical percussion at the School of Arts in Ghent, the Sibelius Academy in Helsinki and the Royal Conservatoire in The Hague. He is actively building towards a music culture that knows no distinction between genres and he is consistently looking for innovative ways to present contemporary arts to a bigger audience. He co-founded Headliner (adventurous music collective), Kunstenfestival PLAN B (contemporary arts festival) and IHEART (band).<\/jats:p>\n keywords: Intermedia, multimedia, contemporary music, Immersion, Immersive Environments, Immersive Environment, media project, music, performance, Music Perception, Music Performance, Performance art<\/jats:p>","DOI":"10.22501\/koncon.215749","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:46:09Z","timestamp":1725907569000},"source":"Crossref","is-referenced-by-count":0,"title":["IN - The creation of an immerive music performance"],"prefix":"10.22501","author":[{"family":"Jonathan Bonny","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:51:07Z","timestamp":1784285467000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/215749\/215750"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.215749","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:53Z","timestamp":1784289833155,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T00:00:00Z","timestamp":1558569600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"This presentation examines instances of elementary algorithmic thinking and musical examples that bear the same principles. A particular focus is given to the function of algorithmic thinking as a performative skill in action. The presentation takes as its background that the application of the procedural logic of algorithm has a long history in music, and that examples can be found in many types of music-making as activities. While much of this application is already discussed in the discipline of musical composition, I observe that the significant presence of algorithmic thinking in performance is still to be articulated. In the three sections titled \u2018affordance\u2019, \u2018combinatoriality\u2019, and \u2018sequence\u2019, I examine each concept in algorithmic operations, and how the same principle can be observed in musical practices. These three sections provide reflection on the nature of the processes involved in music-making. They also simultaneously argue that contemporary musicians possess the capacity to process necessary information and tasks algorithmically, consciously or not.<\/jats:p>\n keywords: Musical performance, algorithms, sequence, combinatoriality, affordance<\/jats:p>","DOI":"10.22501\/ruu.453013","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T07:36:37Z","timestamp":1558596997000},"source":"Crossref","is-referenced-by-count":0,"title":["Algorithmic Thinking and Musical Performance"],"prefix":"10.22501","author":[{"family":"Mieko Kanno","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:14:44Z","timestamp":1784286884000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/453013\/453014"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.453013","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:39Z","timestamp":1784290059134,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"05","license":[{"start":{"date-parts":[[2018,6,28]],"date-time":"2018-06-28T00:00:00Z","timestamp":1530144000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,28]]},"abstract":"All JSS issues up to now, perhaps with the exception of JSS1, have been special ones, dealing with a specific theme: listening, television sounds, sonic epistemologies. (The upcoming JSS6 will be devoted to sound design, by the way.) JSS5 is special in another way: seldom will an issue of a journal be filled completely by texts and A\/V materials composed by the editors of that journal themselves. Editors typically provide an opportunity to others to present their work, their experiences, their thoughts, their research, their findings; this time, however, the JSS editors use their own journal as a platform to display some of their own reflections on sound studies and sound art.[1] Shameless self-promotion or healthy pragmatism? The most important reason is that we think that the two items presented in this issue \u2013 a report of an expert meeting on auditory culture and a handful of mini-essays inspired by a sound art exhibition \u2013 might interest our readers: the first because it features efforts to transgress scientific and academic barriers in and through sound studies, the second because it presents a new way to write around sound art.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.484851","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:52Z","timestamp":1733131552000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: One Month in the Life of the JSS Editors"],"prefix":"10.22501","author":[{"family":"Marcel Cobussen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:42:11Z","timestamp":1784288531000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/484851\/484852"}},"issued":{"date-parts":[[2018,6,28]]},"references-count":0,"journal-issue":{"issue":"05"},"URL":"https:\/\/doi.org\/10.22501\/jss.484851","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:22Z","timestamp":1784283022073,"version":"3.55.0"},"posted":{"date-parts":[[2024,4,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,4,4]],"date-time":"2024-04-04T00:00:00Z","timestamp":1712188800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"WALKING BETWEEN WOR[L]DS WITH LINES is a workshop. It was delivered at Convocation II, Vienna, 2023, a gathering arranged and facilitated by the Language-Based Artistic Research Group. OBJECTIVE:The objective of this research is to explore how, in the absence of vision, the body, language and landscape combine to form a particular type of cartographic, text-informed, mental image in the mind, that is both a record of movement and a score for future object intra-actions. Ordinarily, I fill the role of blindfolded navigator, with a colleague playing the role of the sighted interlocutor. This activity flipped these roles, enabling me to utilise the experience I have acquired through navigating many forests without sight, to assist participants in navigating blindfold through the landscape of Convocation II, Zentrum Fokus Forschung (ZFF). The blurring of physical site and temporal event is deliberate here, the activity of navigating blindfolded with the body generatively blending with psychic travel in the mind. This is an opportunity for participants to think about how vision enables a particular version of the wor[l]d, and to speculate on what other kinds of wor[l]d might be possible in vision\u2019s absence.<\/jats:p>\n keywords: embodied blindfolded exploration, psychosocial cartographies, dialogue<\/jats:p>","DOI":"10.22501\/rc.2674514","type":"posted-content","created":{"date-parts":[[2024,4,4]],"date-time":"2024-04-04T09:47:39Z","timestamp":1712224059000},"source":"Crossref","is-referenced-by-count":0,"title":["WALKING BETWEEN WOR[L]DS WITH LINES"],"prefix":"10.22501","author":[{"family":"Benjamin Jenner","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:48Z","timestamp":1784282328000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2674514\/2674515"}},"issued":{"date-parts":[[2024,4,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2674514","published":{"date-parts":[[2024,4,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:16Z","timestamp":1784369056362,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2019,9,23]],"date-time":"2019-09-23T00:00:00Z","timestamp":1569196800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2019,9,23]]},"abstract":"Animalium is a continuation of the artistic research project Neither Fish nor Fowl which investigates the significance of affect in performing arts for kindergarten kids and consists of theatre-making, film making and writing. Affect has been philosophical, emotional, and material inspiration in the creative process, and in relation to the young children audience. The theatre project developed by Teater Fot is Inspired by posthumanist philosophies, and the project investigates human as animal in musical and sympoietic interplay with young children. We investigate the strange and weird in-between, in transition, in the undefinable; neither fish nor fowl, but perhaps chickenlion, orangerobot, dragonurchin or birdfish? The exposition is a translation from theatre to text, pictures, sound and video, and explores how the translation twists, twirks and turns the theatre into virtuality. By this translation details come close-up and new shapes and colours emerge \u2013 the body and space of theatre are transformed and translated into the strange materiality of the screen, and the work will expand in time.<\/jats:p>\n keywords: theatre for early years, performing arts for children, affect, affective pedagogics, Becoming, posthumanism, transformation, artforms in nature, sympoiesis<\/jats:p>","DOI":"10.22501\/vis.562061","type":"journal-article","created":{"date-parts":[[2019,12,14]],"date-time":"2019-12-14T12:08:12Z","timestamp":1576325292000},"source":"Crossref","is-referenced-by-count":0,"title":["Animalium"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-9104-6543","authenticated-orcid":false,"family":"Lise Hovik","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:16:29Z","timestamp":1784366189000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/562061\/562269"}},"issued":{"date-parts":[[2019,9,23]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/vis.562061","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2019,9,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:08Z","timestamp":1784289968423,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","license":[{"start":{"date-parts":[[2019,7,8]],"date-time":"2019-07-08T00:00:00Z","timestamp":1562544000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2019,7,8]]},"abstract":"In Abu Dhabi, a city where the adhan, (The Islamic Call to Prayer), is recited five times daily, mapping the cacophony of its sounds can provide insight into its built environment and the lived experiences of the people in it. By considering the urban ambiance of the city through the acoustical mappings of both the uniform and pre- recorded natures of the adhan in Abu Dhabi City, I will offer a perspective of how live recordings can participate in a discourse on the aesthetic and temporal landscape of the city. What is it about the process of recording what we hear that allows the sonic content of the recording to become live, and does this impact our understanding of place? What do recordings reveal about urban spaces, and how do we \u201clisten back\u201d to them?<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.653359","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:50Z","timestamp":1733131550000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond the Azhan: Abu Dhabi\u2019s Cacophonous Soundscape"],"prefix":"10.22501","author":[{"family":"Diana Chester","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:40:01Z","timestamp":1784288401000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/653359\/653360"}},"issued":{"date-parts":[[2019,7,8]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/jss.653359","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2019,7,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:48Z","timestamp":1784282928791,"version":"3.55.0"},"posted":{"date-parts":[[2026,5,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,16]],"date-time":"2026-05-16T00:00:00Z","timestamp":1778889600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Ampolla del Tempo \u2014 Siracusa vista da un viandanteThe Ampulla of Time \u2014 Syracuse Seen by a WandererThe ampulla is an organ that encloses the city \u2014 a chest of poems, an hourglass that solidifies time and delivers it to the future. It does not preserve objects, but fossilized perceptions: smells, fragments, noises, residues, salts, rusts, gestures. It is life itself, seen through the eyes of a wanderer, compressed into a single breath.<\/jats:p>\n keywords: art, artwork, Recearch conversations, Contemporary art<\/jats:p>","DOI":"10.22501\/rc.4401761","type":"posted-content","created":{"date-parts":[[2026,5,16]],"date-time":"2026-05-16T09:53:36Z","timestamp":1778925216000},"source":"Crossref","is-referenced-by-count":0,"title":["Ampolla del Tempo"],"prefix":"10.22501","author":[{"family":"Giusirames","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:39Z","timestamp":1784282199000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4401761\/4401760"}},"issued":{"date-parts":[[2026,5,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4401761","published":{"date-parts":[[2026,5,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024207,"version":"3.55.0"},"posted":{"date-parts":[[2020,4,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,4,25]],"date-time":"2020-04-25T00:00:00Z","timestamp":1587772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The aim of this arts-based research project was to examine the translation of intimacy in film and to create a transparency for the accompanying artistic decision-making processes. The research focus was to explore the processes involved in the production of moments of intimacy from an inter- and transdisciplinary perspective, and to study the contexts in which intimate moments are \"translated\" into moving images. Within this context, this project was particularly concerned with filmmakers' experiential knowledge about creating intimate moments within an artistic framework by employing different technologies and staging them in different ways, as well as with asking how this attributes meaning to these intimate moments. The framework of this research project includes an inter- and transdisciplinary workshop aimed at initiating a dialogue and exchange of knowledge between theory and practice. This workshop aimed to reflect together on the artistic (subjective creative) decision-making processes, to hone the research questions and lay the foundation for the artistic research that took place in the FILM LAB (film research laboratory). The establishment of a FILM LAB served as an innovative and open research space in which filmic translation and decision-making processes could be observed and rendered comprehensible by employing a \"slow-motion procedure\". In particular, the FILM LAB aimed to highlight the complexity of intimacy and sound out specific processes of translation by employing and reflecting various artistic and technical means and methods.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.374979","type":"posted-content","created":{"date-parts":[[2018,6,14]],"date-time":"2018-06-14T09:26:09Z","timestamp":1528968369000},"source":"Crossref","is-referenced-by-count":0,"title":["Capturing Intimacy: Translating Intimate Moments in Film"],"prefix":"10.22501","author":[{"family":"Kerstin Parth","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Claudia Walkensteiner-Preschl","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:34Z","timestamp":1784282434000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/374979\/374980"}},"issued":{"date-parts":[[2020,4,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.374979","published":{"date-parts":[[2020,4,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:51Z","timestamp":1784282991040,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","license":[{"start":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T00:00:00Z","timestamp":1730851200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,6]]},"abstract":"Environmental science has shown that the global use of concrete has led to significant challenges today and will seriously trouble future generations. Nevertheless, international building industries advertise concrete as a natural, regional, sustainable, and hence green material. In 2020, global human-made mass exceeded all living biomass, with concrete accounting for nearly half of it, making it a signal of the Capitalocene. A radical transformation of industrial building culture is asked for, otherwise anthropogenic mass will be three times biomass by 2040. The growth of the technosphere is amplifying multiple negative currents in the pluriverse \u2014 air pollution, lithospheric extraction, and hydrosphere depletion \u2014 all with catastrophic effects on biodiversity.This exposition displays the steps in and findings of the artistic research project Greenwashed Concrete. Setting out to widen understanding of the multi-layered material concrete, this project applied a methodology of juxtaposing two sculptural practices in order to collaboratively design experimental settings to engage scholars from heterogeneous fields.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"download-media?work=3155507&file=3155515\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: concrete, greenwashing, social metabolism, socio-ecological transformation, built environment, architecture, housing, growthism, climate crisis, sculpture, collaboration, interdisciplinarity, Technosphere<\/jats:p>","DOI":"10.22501\/jar.1928632","type":"journal-article","created":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T02:56:15Z","timestamp":1730861775000},"source":"Crossref","is-referenced-by-count":0,"title":["Greenwashed Concrete. Artistic Research With, On, and Against Concrete, Concerning Conflicting Concepts of Its Sustainability"],"prefix":"10.22501","author":[{"family":"Christoph Weber","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Nikolaus Eckhard","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:51Z","timestamp":1784282331000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1928632\/1928627"}},"issued":{"date-parts":[[2024,11,6]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1928632","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2024,11,6]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:03Z","timestamp":1784368983412,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2025,10,21]],"date-time":"2025-10-21T00:00:00Z","timestamp":1761004800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,21]]},"abstract":"Gestaltology Encoded is an experimental research article in the form of an exposition, centered around the development of an artificial organism, Arcana, coming to life through the artistic research project Gestaltology (2020\u20132023). The project aims to explore AI and robotics in a way that challenges Cartesian dualism, by investigating the interplay between mind, body, and environment. By engaging a transdisciplinary team, the project delves into evolutionary biology, AI, and robotics, creating an artificial organism that evolves through symbiosis with its environment. Arcana\u2019s artistic process, rooted in these conditions, emerges through its ability to create visual outputs that transcend human-centric perspectives. This research proposes a posthuman approach to AI development, emphasizing an ecocentric and performative perspective that reshapes the relationship between technology, art, and ecology. The article reflects on the project's iterative nature, where failure is viewed as an inevitable and creative catalyst, guiding the project toward unforeseen futures.<\/jats:p>\n keywords: Artificial Intelligence, evolutionary biology, Gestaltology, artificial creativity, transdisciplinary collaboration, posthumanism<\/jats:p>","DOI":"10.22501\/vis.3876892","type":"journal-article","created":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:02:08Z","timestamp":1760997728000},"source":"Crossref","is-referenced-by-count":0,"title":["Gestaltology Encoded"],"prefix":"10.22501","author":[{"family":"DiPisaStasinski","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:07:08Z","timestamp":1784365628000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3876892\/3876897"}},"issued":{"date-parts":[[2025,10,21]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/vis.3876892","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,10,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:40Z","timestamp":1784286460436,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,7,11]],"date-time":"2022-07-11T00:00:00Z","timestamp":1657497600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"In this research I would like to investigate the psychological aspect related to the practice of a musical instrument, going deeper into the experience of the flow state that the musician can live intensely. It is a state of mind of complete absorption in what one is doing. The process started by reading and informing myself as much as possible through books, articles, and personal experience. Based on these I created a strategy of work and exercises that would help me to be more focused and inside the music both in my studies and especially in my performances. I prepared two questionnaires to be filled in after the performances: 1) Personal Questionnaire 2) Group of critical friends To check whether the strategy I had been using over the last few months was helping me to achieve my goal or not. From the results of the two questionnaires until now, I can deduce the most effective and useful aspects of the strategy I implemented. It is also interesting to see how the suggestions of critical friends are similar to the \"criticism\" I made myself in the personal questionnaire. Over the last few weeks while analysing my latest performances and the results of the questionnaires, I have realised an increase in pleasure in playing and concentration on the task to do, which was not always present before I started this work. I am quite convinced that whatever strategy you want to use, you need patience to see over time if it really works.<\/jats:p>\n keywords: Flow, optimal experience, positive psychology, Musical Training Performance &amp; Cognition<\/jats:p>","DOI":"10.22501\/koncon.1433187","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:38:20Z","timestamp":1725907100000},"source":"Crossref","is-referenced-by-count":0,"title":["Flow, The Optimal Experience"],"prefix":"10.22501","author":[{"family":"Francesco\u00a0Siri","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:35:01Z","timestamp":1784284501000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1433187\/1433188"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1433187","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:13Z","timestamp":1784286433561,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,6,8]],"date-time":"2021-06-08T00:00:00Z","timestamp":1623110400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,6,8]]},"abstract":"After a long investigation of the jazz discography from 1920s until today, Dimitris Koutantos chose 5 recordings which contain drum-comping styles with these two characteristics: 1)not-cymbal-oriented 2)non-repetitive. For his research exposition, he uses a variety of media (such as videos, musical notation & text) to show you his path:-searchng and choosing recordings-transcribing them-analyzing them-creating different exercises (to solve problems)-turning what he learned into action-looking for his own comping style (inspired by those drummers)-sharing his thoughts and conclusions.With this research, Dimitris hopes to help other drum-students:-explore these 'unconventional' styles of comping-improve their time & co-ordination-search for their own style.<\/jats:p>\n keywords: jazz, comping, accompaniment, drums, Marcus Gilmore, Jack Dejohnette, Mike Clark, Tony Williams, Paul Motian, time, open playing, Collective improvisation, Art of Interpretation<\/jats:p>","DOI":"10.22501\/koncon.1157888","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:02Z","timestamp":1725907202000},"source":"Crossref","is-referenced-by-count":0,"title":["JAZZ DRUMS: 5 unconventional comping examples"],"prefix":"10.22501","author":[{"family":"Dimitris Koutantos","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:39:29Z","timestamp":1784284769000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1157888\/1163382"}},"issued":{"date-parts":[[2021,6,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1157888","published":{"date-parts":[[2021,6,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:54Z","timestamp":1784286354100,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,10,26]],"date-time":"2023-10-26T00:00:00Z","timestamp":1698278400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,10,26]]},"abstract":"It would be more than reductive to say that art is not created in a vacuum. Simply said, all art exists in a context, and said context includes medium, genre, style, and idiom, amongst other things. In the realm of Western music, much insight has been given regarding quotation, and less so regarding subtler applications of stylistic, generic, and idiomatic thought in composition. So, if all music exists in a specific context, how can composers creatively account for context in their compositions? This research seeks to answer this question by outlining methodologies via analysis of relevant works. Given the background and musical focus of the researcher, this research predominantly focuses on musical works that adapt or interact with Latin-American folkloric music and traditions, with many works dealing specifically with Venezuelan and Cuban folklore.<\/jats:p>\n keywords: mim\u00easis, folk music, new music, composition, Venezuela, Cuba, composition technique<\/jats:p>","DOI":"10.22501\/koncon.2055576","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:23Z","timestamp":1725906983000},"source":"Crossref","is-referenced-by-count":0,"title":["New (old) Music - Intercontextual Compositional Methodologies"],"prefix":"10.22501","author":[{"family":"Mart\u00edn Mayo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:29:20Z","timestamp":1784284160000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2055576\/2055577"}},"issued":{"date-parts":[[2023,10,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2055576","published":{"date-parts":[[2023,10,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:16Z","timestamp":1784290096581,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2024","license":[{"start":{"date-parts":[[2025,5,8]],"date-time":"2025-05-08T00:00:00Z","timestamp":1746662400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["acpa"],"published-print":{"date-parts":[[2025,5,8]]},"abstract":"This dissertation considers performed silences in composed music and suggests that musicians often use markers to communicate the dimensions of silence. These markers may shape, summon, or impose silence. Markers are signals or cues that may be visible, audible, or multimodal. This research consists of an archive of examples from the author's pianistic practice, as well as three case studies drawn from works of Beethoven, Cage, and Antheil. Full title: \"Performing Musical Silence: Markers, Gestures, and Embodiments\"<\/jats:p>\n keywords: silence, absence, audience, performer, embodiment, gesture, Spaces in between, ma, markers, musical silence, absence art, Silent discourse, Silence perception, silenced narratives, stillness, john cage, Beethoven, George Antheil<\/jats:p>","DOI":"10.22501\/acpa.1712958","type":"journal-article","created":{"date-parts":[[2025,5,8]],"date-time":"2025-05-08T05:27:32Z","timestamp":1746682052000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing Musical Silence"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0005-5353-2929","authenticated-orcid":false,"family":"Guy Livingston","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Academy of Creative and Performing Arts"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:54:32Z","timestamp":1784289272000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1712958\/2780572"}},"issued":{"date-parts":[[2025,5,8]]},"references-count":0,"journal-issue":{"issue":"2024"},"URL":"https:\/\/doi.org\/10.22501\/acpa.1712958","published":{"date-parts":[[2025,5,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967790,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T00:00:00Z","timestamp":1759276800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Grain: Mediator Between East and West\" is an image-led, cross-temporal exploration of bread wheat as both a commodity and a metaphor. Drawing on its historical and practical ubiquity as a staple grain in agrarian (Eastern) Europe, wheat emerges as the focal medium through which cultural and geopolitical narratives are revealed. What narratives does bread wheat carry, and what is entangled within localised perspectives? To what extent does the cultural history of grain intersect with modern grain infrastructures, whereby wheat transforms from an elemental medium into a mediator between East and West? Through thinking with and about grain, this work interrogates the gaps, overlaps and resonances between East and West, the post-war Soviet 1940s and the present day, repositioning wheat as a cultural mediator.This Master's project was conducted within the European Media Studies program at the University of Potsdam and University of Applied Sciences Potsdam, August 2025.<\/jats:p>\n keywords: grain, Media studies, entanglement, cultural history, agriculture<\/jats:p>","DOI":"10.22501\/rc.3583770","type":"posted-content","created":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T11:40:26Z","timestamp":1759318826000},"source":"Crossref","is-referenced-by-count":0,"title":["Grain: Mediator Between East and West"],"prefix":"10.22501","author":[{"family":"Kateryna Tykhonenko","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:53Z","timestamp":1784282273000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3583770\/3583771"}},"issued":{"date-parts":[[2025,10,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3583770","published":{"date-parts":[[2025,10,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001196,"version":"3.55.0"},"posted":{"date-parts":[[2025,6,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,23]],"date-time":"2025-06-23T00:00:00Z","timestamp":1750636800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition investigates the potential of a\/r\/tography as a methodological framework within an artistic context characterized by improvisation in movement, dance, and theatre. Through a small-scale exploratory study, theory, practice, and reflection are integrated to examine how knowledge and understanding are generated within and through improvised artistic processes. The exposition includes documentation of practical components, reflective writings, and theoretical perspectives, and illustrates how a\/r\/tography can operate as a dynamic and responsive research methodology within the field of performative arts.This exposition is part of the peer-reviewed article:\u00d8stern, T. P., Reppen, C., O\u2019Connell, S., & Daneberg, M. (2025). Choreographer\/researcher\/teacher - developing a\/r\/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2).<\/jats:p>\n keywords: A\/R\/Tography<\/jats:p>","DOI":"10.22501\/rc.2731837","type":"posted-content","created":{"date-parts":[[2025,6,23]],"date-time":"2025-06-23T14:39:17Z","timestamp":1750689557000},"source":"Crossref","is-referenced-by-count":0,"title":["Artography exposition: A\/r\/tography and improvisation"],"prefix":"10.22501","author":[{"family":"Stina O'Connell","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:03Z","timestamp":1784282283000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2731837\/2731838"}},"issued":{"date-parts":[[2025,6,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2731837","published":{"date-parts":[[2025,6,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:42Z","timestamp":1784286402017,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,7,18]],"date-time":"2022-07-18T00:00:00Z","timestamp":1658102400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,18]]},"abstract":"Approaching Kunstlieder with the background as a jazz interpreter, has challenged me to find, not only, my interpretation of the lieder\/songs but to also find my interpretation of my role(s) as the singer on stage between classical music and jazz scenes. Through performing music, the chosen body of work, we are not only repeating and interpreting the music but repeating and interpreting ways of performing it. This research focuses on the role(s) of the singer on stage and the moments between the songs; the open space between one piece of music and another that offers the possibility to communicate and connect with the audience. What happens in these moments? What stories do we tell and how do we tell them? What do I communicate with, through, in - and outside of the lied, the song, the piece of music. What do I perform in the open space between between the songs - my self(s)?<\/jats:p>\n keywords: Creative Practice Performance, interpretation, performance, classical music, jazz, singer<\/jats:p>","DOI":"10.22501\/koncon.1424432","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:38:00Z","timestamp":1725907080000},"source":"Crossref","is-referenced-by-count":0,"title":["The singing Performer: Who am I on stage when not singing?"],"prefix":"10.22501","author":[{"family":"Julia Pallanch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Heloisa Amaral","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:34:05Z","timestamp":1784284445000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1424432\/1424433"}},"issued":{"date-parts":[[2022,7,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1424432","published":{"date-parts":[[2022,7,18]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:40Z","timestamp":1784282980104,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"31","license":[{"start":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T00:00:00Z","timestamp":1703116800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,12,21]]},"abstract":"\u201cCommotion\u201d is a fixed media multichannel composition that revolved around the principles of minimalist music. This exposition aims at understanding these principles while it tries to place the process of composing the piece within the common premises of artistic research. Due to the nature of its context, this approach includes also theories of reception - mostly by exploring themes such as intentionality, interpretation and representation. With this exposition, the author shares technical terminology of sound practices, in order to promote it in contexts predominantly visual-oriented.<\/jats:p>\n keywords: Sound, Reception, Minimalism, Multichannel, Process, Interpretation, Intentionality, Representation, Relativism<\/jats:p>","DOI":"10.22501\/jar.723227","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T11:57:56Z","timestamp":1703159876000},"source":"Crossref","is-referenced-by-count":0,"title":["The Making of 'Commotion'"],"prefix":"10.22501","author":[{"family":"Sara Pinheiro","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:51Z","timestamp":1784282391000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/723227\/723228"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"journal-issue":{"issue":"31"},"URL":"https:\/\/doi.org\/10.22501\/jar.723227","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:02:59Z","timestamp":1784289779724,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2024,10,29]]},"abstract":"This exposition brings together a collection of images, thoughts, and descriptions of the initial stages of a doctoral research project that explores the concept of 'notational actants': materially-focused, 3-dimensional objects intended for touch-based interpretation in musical performance. The majority of the content in this exposition was created during a one-month residency at Mustarinda (Hyrynsalmi, Finland).<\/jats:p>\n keywords: vital materialism, notation, touchable art, actants, anti-colonialism, Music Performance, design art<\/jats:p>","DOI":"10.22501\/ruu.2182963","type":"journal-article","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T04:16:37Z","timestamp":1730175397000},"source":"Crossref","is-referenced-by-count":0,"title":["Notational actants: new musical approaches through the material score"],"prefix":"10.22501","author":[{"family":"AI Grayson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:09Z","timestamp":1784286309000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2182963\/2182964"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2182963","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2024,10,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:42Z","timestamp":1784283042746,"version":"3.55.0"},"posted":{"date-parts":[[2020,8,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,8,29]],"date-time":"2020-08-29T00:00:00Z","timestamp":1598659200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Publikacja stanowi prezentacj\u0119 prac podejmuj\u0105cych temat up\u0142ywu czasu i niemo\u017cno\u015bci sprawowania nad nim kontroli.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.967602","type":"posted-content","created":{"date-parts":[[2020,8,29]],"date-time":"2020-08-29T16:18:14Z","timestamp":1598717894000},"source":"Crossref","is-referenced-by-count":0,"title":["Nie udaj\u0119, \u017ce nic si\u0119 nie sta\u0142o"],"prefix":"10.22501","author":[{"family":"Kornelia Dzikowska","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:32Z","timestamp":1784282432000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/967602\/967603"}},"issued":{"date-parts":[[2020,8,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.967602","published":{"date-parts":[[2020,8,29]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:20Z","timestamp":1784369120353,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,7,14]],"date-time":"2026-07-14T00:00:00Z","timestamp":1783987200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,7,14]]},"abstract":"This short essay is inspired by the Arte Acta open call titled Beyond Human Communality: Encounters and Limits, the theme of its 15th issue. The essay introduces the concept of multi-planetary communality to examine how human and more-than-human relations are extended beyond Earth through technological infrastructures, plans for extraction, and imaginaries of space settlement. Drawing on thinkers such as Stacy Alaimo, Hannah Arendt, Bruno Latour, and Elizabeth Povinelli, it argues that extraterrestrial expansion does not represent a departure from earthly conditions, but rather an intensification of existing political, material, and imperial relations. Through examples ranging from the Dolphin House Project and satellite infrastructures to science fiction narratives such as Red Mars and Moon, the text explores how modern logics of domination, resource extraction, and technological mediation continue to shape emerging extraterrestrial environments. Instead of asking whether life beyond Earth is possible, the essay asks which earthly values and relations humanity reproduces in the process of making multi-planetary existence real.<\/jats:p>\n keywords: multi-planetary communality, more-than-human worlds, sci-fi, space infrastructure, space mining<\/jats:p>","DOI":"10.22501\/artact.4503966","type":"journal-article","created":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:33:11Z","timestamp":1784107991000},"source":"Crossref","is-referenced-by-count":0,"title":["We Have Never Truly Left Earth: On Multi-Planetary Communality"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0003-6594-1696","authenticated-orcid":false,"family":"S\u00e1ra M\u00e4rc","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:26:12Z","timestamp":1784366772000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4503966\/4503965"}},"issued":{"date-parts":[[2026,7,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/artact.4503966","published":{"date-parts":[[2026,7,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026472,"version":"3.55.0"},"posted":{"date-parts":[[2025,2,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,23]],"date-time":"2025-02-23T00:00:00Z","timestamp":1740268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Denne siden inneholder fotodokumentasjon av refleksjonshylla p\u00e5 biblioteket p\u00e5 Kunsth\u00f8gskolen i Oslo. Hylla inneholder objekter i keramikk, leire og andre materialer som har v\u00e6rt viktige for utviklingen av det kunstnersike doktorgradsprosjektet \"Jording med (bl\u00e5)leire\", og objektene kan h\u00e5ndteres. Alle objektene leder til en hypertekst p\u00e5 research catalogue. \/This page contains photo documentation of the reflection shelf at the library of the Oslo National Academy of the Arts. The shelf contains objects made of ceramics, clay, and other materials that have been important in the development of the artistic doctoral project \"Grounding with (blue)clay,\" and the objects can be handled. Each object links to a hypertext on research catalogue.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, dokumentasjon<\/jats:p>","DOI":"10.22501\/rc.3153820","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:06:44Z","timestamp":1740722804000},"source":"Crossref","is-referenced-by-count":0,"title":["Dokumentasjon av refleksjonshylla \/ Documentation of the reflection shelf"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:23Z","timestamp":1784282303000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3153820\/3153395"}},"issued":{"date-parts":[[2025,2,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3153820","published":{"date-parts":[[2025,2,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:19Z","timestamp":1784283019572,"version":"3.55.0"},"posted":{"date-parts":[[2024,9,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T00:00:00Z","timestamp":1725494400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The work presents selected parts of a women's academy in the form of a short film, which was originally performed once at the Viennese court in 1697. The video is the result of an interpretative approach based on the acting techniques of the period when this academy was created. The music harmonises with the movement, which, in turn, follows the affect of the text. The filmed scene was rehearsed by students, graduates and teachers of the Department of Early Music at the University of Music and Arts of the City of Vienna (MUK) as part of the course \u201cPeriod Acting Techniques\u201c under the direction of Margit Legler. This work contributes to the visualisation and imaginability of this historical event, where five authors and singers presented speeches, poems and music they had composed themselves on a specific research question. In addition to the score of the selected parts, this publication includes a historical report on the creation of the academy, summarising the findings of a dissertation on music history dedicated to this event (Pumh\u00f6sl 2014). It concludes with a personal reflection on how the performance of today's interpreters changes when they employ period acting techniques in speeches, recitatives and arias.<\/jats:p>\n keywords: Academy, academia, performance practice, Reenactment, multidisciplinary, multidimensional learning, period acting, physical eloquence, Vienna, event, baroque, epistemology, research question, artistic research<\/jats:p>","DOI":"10.22501\/rc.2990152","type":"posted-content","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T16:41:41Z","timestamp":1725900101000},"source":"Crossref","is-referenced-by-count":0,"title":["\"Accademia di Dame, Vienna 1697\" by Susanne Abed-Navandi and Margit Legler"],"prefix":"10.22501","author":[{"family":"Susanne Abed-Navandi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:38Z","timestamp":1784282318000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2990152\/2990153"}},"issued":{"date-parts":[[2024,9,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2990152","published":{"date-parts":[[2024,9,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,8,15]],"date-time":"2026-08-15T13:31:20Z","timestamp":1786800680656,"version":"build-2736575974"},"posted":{"date-parts":[[2026,8,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,8,15]],"date-time":"2026-08-15T00:00:00Z","timestamp":1786752000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Over the course of the 22nd and 23rd of April 2026, the inaugural edition of the Comics and Machines Conference (COMMA for short) was hosted as a joint venture between Uppsala University and KTH (The Royal Institute of Technology, Stockholm, Sweden) and financed by the AI Futures of Culture and Memory (reference number 802)\u00a0 a WASP-HS national programme led by Uppsala University\u2019s Professor\u00a0 Anna Foka and KTH\u2019s Associate Professor Andr\u00e9 Holzapfel.\u00a0As part of the proceedings, the authors of this article, as attendees, were tasked with implementing this theme of craft and digital entanglement in the form of a digital archival work and selected an academic blog as the ideal platform to do so. From its highly flexible digital integration to the less formal requirements on writing styles, this is arguably the most suitable form of conference documentation for COMMA, with its theme focused on the many and varied means of making comics in the era of automation. On top of that, the team used a combination of photography and live, hand-drawn, comic illustration throughout the conference, with the goal of creating a COMMA Zine (a short-format, independently made amalgam of comics and magazines that offer unfiltered and raw expression of content as a mode of making, critique and even simple process and can include of mix of illustration, photography, prose and design suited to a specific theme) that offers a dual presentation of the subjective comprehension of topics expressed by illustration versus the inherently objective moment capture of photography.<\/jats:p>\n keywords: zine, creative research, digital folklore, transdisciplinarity, comic research, ai<\/jats:p>","DOI":"10.22501\/rc.4802066","type":"posted-content","created":{"date-parts":[[2026,8,15]],"date-time":"2026-08-15T13:16:48Z","timestamp":1786799808000},"source":"Crossref","is-referenced-by-count":0,"title":["Comics and machines: Reframing Ontologies of comic making in the era of AI, or why Zines might just save us all."],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-7662-7473","authenticated-orcid":false,"family":"Raymond Whitcher","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Irish \u00c9ire Sloane","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,8,15]],"date-time":"2026-08-15T13:16:48Z","timestamp":1786799808000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4802066\/4802067"}},"issued":{"date-parts":[[2026,8,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4802066","published":{"date-parts":[[2026,8,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:52Z","timestamp":1784289892205,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2023,6,22]],"date-time":"2023-06-22T00:00:00Z","timestamp":1687392000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,22]]},"abstract":"PhD project: Technique Concerns: Ballet Practice Against the Western Archive, Supervisors: Ruth Anderwald + Leonhard GrondEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2105028","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T18:17:51Z","timestamp":1714069071000},"source":"Crossref","is-referenced-by-count":0,"title":["Andrew Champlin on his research project, Technique Concerns: Ballet Practice Against the Western Archive"],"prefix":"10.22501","author":[{"family":"Andrew Champlin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:25:56Z","timestamp":1784287556000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105028\/2105006"}},"issued":{"date-parts":[[2023,6,22]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2105028","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2023,6,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:16Z","timestamp":1784286436703,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,6,15]],"date-time":"2020-06-15T00:00:00Z","timestamp":1592179200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,15]]},"abstract":"Ornamenting baroque da capo arias is crucial for the historically informed singer. However, the choice of ornaments should do more than fit the affects portrayed in a given piece: it should emphasize their expression and move the affections of the audience. In Mattheson\u2019s Der vollkommene Capellmeister it is suggested that rhetorical figures can be of good use as ornaments. Out of the abundant number of figures listed by theorists associated with the movement of the German Musica Poetica, only a few have simultaneously an affective meaning and can be applied to a pre-existing melody. This research explores some of the existing ornamented melodies by G. F. H\u00e4ndel and singers from the time of the composer to understand how these ornaments can be linked with figures from rhetoric, and how they assist in the expression of the text. This research associates rhetorical figures and manieren with general affects and demonstrates its practical use in selected operatic repertoire by G. F. H\u00e4ndel. This study aims to enhance the author\u2019s aesthetic choices while performing, and furthermore encourage other singers to use ornamentation effectively in similar repertoire.<\/jats:p>\n keywords: Rhetoric, Ornamentation, 18th century, Vocal performance, Art of Interpretation<\/jats:p>","DOI":"10.22501\/koncon.545103","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:41:06Z","timestamp":1725907266000},"source":"Crossref","is-referenced-by-count":0,"title":["Rethinking ornamentation : a rhetorical approach to da capo arias of Georg Friedrich H\u00e4ndel"],"prefix":"10.22501","author":[{"family":"Francisca Prestes Branco Gouveia","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:41:42Z","timestamp":1784284902000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/545103\/804641"}},"issued":{"date-parts":[[2020,6,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.545103","published":{"date-parts":[[2020,6,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:46Z","timestamp":1784286406392,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,2]],"date-time":"2025-05-02T00:00:00Z","timestamp":1746144000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,2]]},"abstract":"As a recorder and traverso player, J.S. Bach\u2019s works form a crucial part of my repertoire. They include some of the most technically advanced music written for the recorder, in which the instrument seems to be pushed to its limits. Meanwhile, the traverso is welcomed into the orchestra, and it has come to stay. In order to understand the many problems surrounding the recorder and traverso parts from Bach\u2019s music, I need to know how Bach used each instrument specifically. And to be able to make the right artistic choices, I need to know why he chose the recorder for one composition, and the traverso for the other. In answering these questions, I have used my experience in playing both woodwinds to my advantage. My journey has led me through an analysis of terminology, tessitura, symbolism, clefs and pitch surrounding Bach\u2019s flute parts. And for context, I have compared Bach\u2019s use of the recorder and traverso with that of his contemporaries. With my research, I present an overview of the characteristic differences between the two instruments in Bach\u2019s music, giving my own artistic view on some of the unsolved mysteries surrounding Bach and his use of flutes.<\/jats:p>\n keywords: recorder, traverso, pitch, symbolism, 18th century, Art of Interpretation, historically informed performance, baroque, Early music, Johann Sebastian Bach<\/jats:p>","DOI":"10.22501\/koncon.3189053","type":"journal-article","created":{"date-parts":[[2025,5,2]],"date-time":"2025-05-02T10:20:13Z","timestamp":1746181213000},"source":"Crossref","is-referenced-by-count":0,"title":["Blast die wohlgegriffnen Fl\u00f6ten: Understanding and comparing J.S. Bach\u2019s use of recorder and traverso"],"prefix":"10.22501","author":[{"family":"Dante Jongerius","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:25:57Z","timestamp":1784283957000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3189053\/3189054"}},"issued":{"date-parts":[[2025,5,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3189053","published":{"date-parts":[[2025,5,2]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:18Z","timestamp":1784286198161,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T00:00:00Z","timestamp":1640822400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,12,30]]},"abstract":"This exposition combines image, text, and video to provide an overview of my artistic research, which focuses on the embodied experience of art-making in relation to the everyday. Equipped with the notions of a line and a circle, I explore the connections and overlaps between art and life through a multi-disciplinary art practice that combines installation, sculpture, drawing, performance, and video, and merges this with everyday experiences, mainly cleaning, one of the more mundane aspects of everyday life. In this work, I am accompanied by three imaginary friends, who are also artists. We find ourselves constantly crossing the lines between art, art-making, and everyday life as we move between our roles and various places of work, such as home, university, library, and studio. We dip into the everyday for materials, tools, and techniques, and work in the manner of a bricoleuse, using a \u2018make do\u2019 approach and \u2018what is at hand\u2019. Along the way, we ponder the specialness of art, especially from the perspective of an artist for whom art and art-making are a part of the everyday and therefore quite un-special. As we puzzle over the distinctions of whether something is practical or impractical, useful or useless, art or non-art, mundane or special, we end up blurring the borders to discover an approach that attempts to dispense with the idea of boundaries and binaries altogether.<\/jats:p>\n keywords: autoethnography, bricoleuse, embodied research, everyday, fluidity, lines, the circle, blurring, art and life, cleaning, art-making<\/jats:p>","DOI":"10.22501\/jar.887950","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T05:23:23Z","timestamp":1640841803000},"source":"Crossref","is-referenced-by-count":0,"title":["Cleaning in progress: the line between art and life"],"prefix":"10.22501","author":[{"family":"Ulvi Haagensen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:05:01Z","timestamp":1784282701000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/887950\/887951"}},"issued":{"date-parts":[[2021,12,30]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jar.887950","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2021,12,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:03Z","timestamp":1784286183648,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T00:00:00Z","timestamp":1666915200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,10,28]]},"abstract":"This exposition functions as both a visual and poetic essay, and a manifesto for my methodology of \u2018line\u2019. My definition of \u2018line\u2019, defined here as:\u2018The gestural and abstracting tandem force of drawing-and-writing as a narrative means to express selfhood.\u2019The exposition posits the methodology of \u2018line\u2019 as one alternate artistic means to artistically communicate feminine selfhood. The methodology of line works to resist the internalised assignment of feminine voice to a corporeal body.Instead, \u2018line\u2019 communicates selfhood through poetic means and a sense of fragmented corporeality. Visually, the stark and abstracting nature of the drawn line, and the allegorical, metaphorical nature of writing present an abstracted self that playfully evades full understanding.The titling phrase \u2018Little Do They Know\u2019 intones a kind of secret power on behalf of the speaker, and the presence of secret and intricate worlds to which the gaze of the spectator has limited access. It is on this premise which the exposition operates, articulating the presence (in all its anxiety, instability, rage, joy and frustration) of a playful and evasive selfhood that reclaims agency from the spectator\u2019s gaze.<\/jats:p>\n keywords: art, artwork, drawing, poetry, play, miscommunication, visual art, anxiety, identity, experimental writing, the gaze, Writing as artistic research, disruption, uncertainty, Playing<\/jats:p>","DOI":"10.22501\/jar.1120903","type":"journal-article","created":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T05:56:52Z","timestamp":1666936612000},"source":"Crossref","is-referenced-by-count":0,"title":["Little Do They Know"],"prefix":"10.22501","author":[{"family":"Olivia Rowland","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:03:28Z","timestamp":1784282608000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1120903\/1120904"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jar.1120903","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:34Z","timestamp":1784286514396,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Enrico RuggieriMain Subject: Choral ConductingResearch Supervisors: Charles Toet, Ricardo Bernardes Title of Research: The Lamenta\u00e7\u00f5es para a Semana Santa by Jos\u00e9 Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instrumentsResearch Question:What are the main features of the viola in this specific repertoire and consequently, what becomes its main function?Summary of Results:In 18th-century Portugal, a particular instrumental setting was used in the music composed for a specific Roman Catholic rite called the officium tenebrarum, performed during the Holy Week. This particular instrumentation consists of a standard vocal ensemble, 4 voices concertate, accompanied by a group of string instruments: 2 violas, a cello (or 2 celli) and a double bass. Jos\u00e9 Joquim dos Santos and Luciano Xavier dos Santos are the composers who exploited this instrumentation best, covering all the needs for music in the Officium tenebrarum. An analysis of two Lamentations by Jos\u00e9 Joaquim dos Santos and Luciano Xavier dos Santos explores the relation between music and rhetorical tools and how the viola relates to them. Besides being a precious rhetorical tool itself, the analysis discloses that the violas and the low string instruments become a practical replacement for the harmonic instruments. In a liturgy where the organ was officially forbidden there is a need for an instrument or several instruments that could absolve that crucial function. Thanks to his ability in blending with and supporting the voices and, at the same time, respecting the solemnity and the sobriety of the liturgy, the viola became the best organ replacement. Biography:Enrico Ruggieri was born in 1982, graduated in piano, studying with Paolo Russo and Rachele Marchegiani. After a Bachelor in Architecture, there followed a Bachelor degree in Choir Conducting from Pescara Conservatory, a Master degree in Choral Music and Choir Conducting in Bologna Conservatory and a Bachelor degree in Choral Conducting from the Royal Conservatoire, The Hague. He has attended masterclasses with many different musicians specialising in choral conducting and Early Music, such as: Tonu Kalijuste, Peter Phillips, David Lawrence, Julian Wilkins, Walter Marzilli, Marco Berrini, Annibale Cetrangolo, Maurizio Less, and vocal technique with: Ghislaine Morgan, Sandro Naglia, Elisa Turl\u00e0 (Voicecraft), Federica Fedele (Alexander Technique). He has conducted many amateur choirs with varied repertoire: church music, folk music, early music, mixed choral repertoire. Presently, he is conducting \u201cLassus Consort\u201d an Early Music vocal ensemble in Amsterdam and the \u201cQuod Libet Kamerkoor\u201d in The Hague.<\/jats:p>\n keywords: choir, Portugal, Early music, sacred music, viola<\/jats:p>","DOI":"10.22501\/koncon.216636","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:45:04Z","timestamp":1725907504000},"source":"Crossref","is-referenced-by-count":0,"title":["The Lamenta\u00e7\u00f5es para a Semana Santa by Jos\u00e9 Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instruments"],"prefix":"10.22501","author":[{"family":"Enrico Ruggieri","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:49:16Z","timestamp":1784285356000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/216636\/216637"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.216636","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:49Z","timestamp":1784289829054,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T00:00:00Z","timestamp":1577750400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,12,31]]},"abstract":"30 years after the publication of F\u00e9lix Guattari\u2019s \u201cThe Three Ecologies,\u201d we are facing a turning point in the way we are encountering our environment. Established concepts of \u201cnature\u201d have proved to be considerably part of a grand homocentric design whose spatiality Peter Sloterdijk poignantly defined as the \u201cWorld Interior of Capital.\u201d To investigate these capitalocenic strata, it becomes necessary to re-territorialize institutionalized debates, conceptions and practices, and perceive contemporary landscapes as manifold, unknown and peripheral alterities. This research exposition aims to encounter the capitalocenic field, its actors and inherent specificities, and to propose a peripheral methodology for its investigation. According to its etymological roots, periphery not only implies a field or site at \u201cthe outer surface\u201d, but also refers to the Greek verb periph\u00e9r\u014d, meaning \u201cto carry around.\u201d This adds a proto-ethical component, as we become part of a carrying and compassionate interplay with virtual forces of capitalocenic dominance, violence, and destruction. In this intimate moment of becoming peripheral, we are striving from the grand institutional narrative towards the fragility of an uncertain world interior. To F\u00e9lix Guattari, this is an act of empathy, of an affective affinity and imaginary re-construction that unfolds new practices, grounds, and epistemologies of how to encounter our manmade planet. Furthermore, it highlights the importance of peripheral discourse on the edge of the planetary crisis, and unfolds a vibrant and democratic borderspace within the all-encompassing ecological trauma. Departing from Victor Turner\u2019s \u201csocial drama\u201d and the unpredictability of a global monetary system, the research exposition focuses on the specific context of Iceland as a knot geographically located within the global fabric of the Capitalocene. Being the site of a massive banking crisis between 2008 and 2011, the island-state is seen as an artificial environment of capitalist warfare, based on an ecosystem of virtual forces that actualize themselves on a social, economic, cultural or ecological level. Applying a situated performative research praxis, the research exposition affirmatively investigates this manifold and monetary-driven spatiality. As the research exposition suggests, performative research allows to confront the unpredictability of the capitalocenic field in all its complexity and to pave the way for \u201cvanquishing [...] or even befriending\u201c the dominant forms of global financial market capitalism\u201d (Gilles Deleuze, Logic of Sensation). \u201cJust a mere Spring to take\u201d is a discursive assemblage of various investigative highlights on a virtual, global and elusive phenomenon, aiming at peripherically unfolding horizons of performative thinking, and enabling a fragile intra-active confrontation with our vertiginous, traumatized but still living cosmos.<\/jats:p>\n keywords: capitalism, capitalocene, Iceland, landscape, ecological trauma, borderspace, Performance-as-research, ethics, social drama, subjectivity, cultural ecology, autoethnography, fiction-based research, peripheral practices, psychoanalysis<\/jats:p>","DOI":"10.22501\/ruu.573767","type":"journal-article","created":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T05:39:21Z","timestamp":1577770761000},"source":"Crossref","is-referenced-by-count":0,"title":["Just a mere Spring to take: Embedding in Capitalocenic Atmospheres"],"prefix":"10.22501","author":[{"family":"Christoph Solstreif-Pirker","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:12:41Z","timestamp":1784286761000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/573767\/573768"}},"issued":{"date-parts":[[2019,12,31]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/ruu.573767","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,12,31]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950956,"version":"3.55.0"},"posted":{"date-parts":[[2025,1,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,1,12]],"date-time":"2025-01-12T00:00:00Z","timestamp":1736640000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Documentation of the 'Expanding Public (Im)Possibilities' gathering, an international gathering of disciplines that perform public space |Organized by the Fontys Professorship Artistic Connective Practices, Fontys MA Performing Public Space and Fontys Journalism.<\/jats:p>\n keywords: public space, journalism, law, performativity, artistic research<\/jats:p>","DOI":"10.22501\/rc.2847448","type":"posted-content","created":{"date-parts":[[2025,1,12]],"date-time":"2025-01-12T07:32:26Z","timestamp":1736667146000},"source":"Crossref","is-referenced-by-count":0,"title":["Expanding Public (Im)Possibilities"],"prefix":"10.22501","author":[{"family":"Xenia Tsompanidou","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:26Z","timestamp":1784282306000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2847448\/2847449"}},"issued":{"date-parts":[[2025,1,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2847448","published":{"date-parts":[[2025,1,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:34Z","timestamp":1784289814390,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T00:00:00Z","timestamp":1591574400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,8]]},"abstract":"This text-based exposition looks at epistemic affordances embedded in the insect condition. Drawing from the scientific study of insects, my project INSECTS AMONG US sets out to fathom insects\u2019 ephemeral existence through art works. A rich media presentation of the project is available in the RC: https:\/\/www.researchcatalogue.net\/view\/474888\/514952. INSECTS AMONG US was exhibited at the Helsinki Uniarts Research Pavilion 2019 on Giudecca Island in Venice. The Pavilion housed a series of small-scale site-specific installations that visually and acoustically mediated the eerie life worlds of insects to human ears and eyes.<\/jats:p>\n keywords: media ecology, phenomenotechnics, ecotone, umwelt, anthropocene, worldmaking, Sotavalta, Olavi, Malaise, Ren\u00e9, Alpers, Svetlana, Carson, Rachel<\/jats:p>","DOI":"10.22501\/ruu.693683","type":"journal-article","created":{"date-parts":[[2020,6,7]],"date-time":"2020-06-07T23:30:04Z","timestamp":1591572604000},"source":"Crossref","is-referenced-by-count":0,"title":["EPISTEMIC BUGS AT WORLDMAKING"],"prefix":"10.22501","author":[{"family":"Tuula N\u00e4rhinen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:10:29Z","timestamp":1784286629000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/693683\/693684"}},"issued":{"date-parts":[[2020,6,8]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.693683","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2020,6,8]]}},{"indexed":{"date-parts":[[2026,9,29]],"date-time":"2026-09-29T07:56:38Z","timestamp":1790668598180,"version":"4.1.0"},"posted":{"date-parts":[[2026,9,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,9,28]],"date-time":"2026-09-28T00:00:00Z","timestamp":1790553600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The ten commitments are a proposal of how to act towards other than human life forms. They take form as two-sided textile embroidery. Ethical reflections are translated into practical suggestions on how to care for other than humans.Cotton textiles, with hand embroidery and machine embroidery. Manufactured with the help and hands of many.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4151237","type":"posted-content","created":{"date-parts":[[2026,9,29]],"date-time":"2026-09-29T07:21:28Z","timestamp":1790666488000},"source":"Crossref","is-referenced-by-count":0,"title":["Manifesto for Other Than Humans"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,9,29]],"date-time":"2026-09-29T07:21:28Z","timestamp":1790666488000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4151237\/4151238"}},"issued":{"date-parts":[[2026,9,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4151237","published":{"date-parts":[[2026,9,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:58Z","timestamp":1784289898814,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2023,6,23]],"date-time":"2023-06-23T00:00:00Z","timestamp":1687478400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,23]]},"abstract":"PhD project: RAD Performance \u2013 Driving Voices of Resistance, Supervisor: Ruth SchnellEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2105121","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T18:19:32Z","timestamp":1714069172000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound Rides. A Manifestation of a collective cycling Body of Sound"],"prefix":"10.22501","author":[{"family":"Conny Zenk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:25:50Z","timestamp":1784287550000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105121\/2105108"}},"issued":{"date-parts":[[2023,6,23]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2105121","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2023,6,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:19Z","timestamp":1784286439490,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,5,3]],"date-time":"2021-05-03T00:00:00Z","timestamp":1620000000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,5,3]]},"abstract":"This research serves as a guide for musicians to develop their own business models using the Canvas model taking into account legal, economical and competitive context.<\/jats:p>\n keywords: business, legal, canvas model, Entrepreneurship<\/jats:p>","DOI":"10.22501\/koncon.1182189","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:25Z","timestamp":1725907225000},"source":"Crossref","is-referenced-by-count":0,"title":["Down to business"],"prefix":"10.22501","author":[{"family":"Heleen Bongenaar","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:40:18Z","timestamp":1784284818000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1182189\/1182190"}},"issued":{"date-parts":[[2021,5,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1182189","published":{"date-parts":[[2021,5,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:18Z","timestamp":1784286498384,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Patricia WisseMain Subject: Music Education according to the Kod\u00e1ly Concept Research Supervisors: Suzanne Konings & Ab SchaapTitle of Research:The Mental Effect of the (Temporary) Tonic: a study of tones in jazz tunes through John Curwen's Tonic Sol-faResearch Supervisor: Suzanne Konings, Ab SchaapResearch Question:How can Tonic Sol-fa be used in dealing with (temporary) tonics in short musical forms, such as the 32-bar jazz standard?Summary of Results::In general, the level of musicianship of (jazz) singers is considered to lag far behind that of their instrumentalist classmates. Are singers somehow not as musical? Or not as interested? Is something different in the approach? Or is the approach not different enough? Looking at what is really needed to be able to improvise in a jazz context, and approaching this through John Curwen\u00b9s Tonic Sol-fa method, this research is an exploration of a vocal and mental alternative to the pianistic approach of vocal improvisation, that is true to our musical experience.Biography:Patricia Wisse studied Theology in Leiden, and then Jazz Voice at Codarts Rotterdam. In 2015 she started her studies at the Royal Conservatoire: Music Education according to the Kod\u00e1ly Concept.Through studying the work of John Curwen, she has developed her own approach in studying and teaching jazz. She has also developed a new music learning tool, the Movable Do Disc, and is continuously developing ideas and methods around it.<\/jats:p>\n keywords: jazz, improvisation, Kod\u00e1ly, Kod\u00e1ly-philosophy, Kod\u00e1ly-approach, Kod\u00e1ly-method, John Curwen, Perception and Consciousness<\/jats:p>","DOI":"10.22501\/koncon.216254","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:44:42Z","timestamp":1725907482000},"source":"Crossref","is-referenced-by-count":0,"title":["The Mental Effect of the (Temporary) Tonic: a study of tones in jazz tunes through John Curwen's Tonic Sol-fa"],"prefix":"10.22501","author":[{"family":"Patricia Wisse","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:48:35Z","timestamp":1784285315000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/216254\/216255"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.216254","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:38Z","timestamp":1784286398946,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,5,12]],"date-time":"2022-05-12T00:00:00Z","timestamp":1652313600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,12]]},"abstract":"The current music scene is manifold in its means of expression. As music becomes more diverse and embraces other art forms it makes room for a new type of performers to flourish. My academic path, comprising jazz theory lessons and an uncomplete bachelor\u2019s in composition beyond my classical piano studies, gave me the opportunity to develop a set of artistic skills that go beyond the standard performer curriculum. I saw in this artistic research the perfect chance to apply this knowledge.In my work I explore three distinct approaches to a specific piece of music: Constan\u00e7a Capdeville\u2019s Avec Picasso, ce matin\u2026 (1984), starting from a more traditional analysis and progressively diverging from this path towards a subversive approach inspired by the concept of anamorphosis. Capdeville\u2019s score is essentially an open work with a set of guiding instructions. However, the lack of documentation, clear instructions and reliable sources concerning the piece made the notated score more ambiguous than expected. This possible setback in its reconstruction turned out to be the perfect context to put my expertise to the test. While dabbling with Capedeville\u2019s score I resorted to experimental processes, to my experience with composition, my transcription and editing skills, archive work and the use of different media in contemporary performance practice.I approached the score as a \u201cscript\u201d rather than a \u201ctext\u201d (Cook, Nicholas). In this research the score is no longer an end in itself, but rather an excuse towards the development of a musical project larger than it.<\/jats:p>\n keywords: Pablo Picasso, open work, score, Art of Interpretation<\/jats:p>","DOI":"10.22501\/koncon.1483337","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:38:55Z","timestamp":1725907135000},"source":"Crossref","is-referenced-by-count":0,"title":["\"Avec Picasso, ce matin...\""],"prefix":"10.22501","author":[{"family":"In\u00eas Lopes","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Heloisa Amaral","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:35:58Z","timestamp":1784284558000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1483337\/1483294"}},"issued":{"date-parts":[[2022,5,12]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1483337","published":{"date-parts":[[2022,5,12]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984520,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,13]],"date-time":"2026-03-13T00:00:00Z","timestamp":1773360000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay investigates the relationship between mourning and linguistic structure, proposing that grief produces not merely emotional disruption but a reconfiguration of grammar itself. Drawing on literary, philosophical, and aesthetic examples\u2014from Rainer Maria Rilke and Joan Didion to memorial architecture and contemporary installation art\u2014the text argues that loss destabilizes the syntactic conventions through which experience is ordinarily articulated. In states of mourning, tense collapses, pronouns shift, repetition intensifies, and silence acquires structural significance within discourse. Grief therefore functions not only as a psychological condition but as a linguistic event that alters the temporal and ethical organization of speech.Situating these observations within the framework of Post-Interpretive Criticism, the essay examines how language behaves when confronted with experiences that exceed explanatory discourse. Rather than treating grief as a thematic subject, the text approaches it as a transformation of linguistic form: syntax fractures, narrative continuity weakens, and speech becomes provisional, hesitant, and fragmentary. These disruptions reveal an underlying ethical dimension of language in which restraint, hesitation, and silence become forms of fidelity to experience rather than failures of articulation.Through reflections on elegy, museum practice, memorial design, and artistic responses to loss\u2014including works by Doris Salcedo, Louise Bourgeois, and the Vietnam Veterans Memorial\u2014the essay explores how cultural forms attempt to accommodate absence without converting it into spectacle. Museums and artworks emerge as spaces where the grammar of mourning becomes visible: objects act as incomplete sentences of presence, and curatorial description functions as an elegiac mode of witnessing rather than interpretation.The essay ultimately proposes a concept of the \u201cgrammar of grief\u201d\u2014a linguistic condition in which speech shifts from explanation to accompaniment. In this framework, repetition functions as mnemonic persistence, fragmentation preserves the ethical fracture of loss, and concision becomes a form of reverence. Rather than resolving grief, language evolves into a vigilant form of attention that maintains proximity to the absent without claiming to translate or redeem it.By examining mourning as a structural transformation of language, this work contributes to broader discussions in phenomenology, aesthetics, literary studies, and ethics of representation. It further expands the methodological commitments of Post-Interpretive Criticism by demonstrating how restraint in discourse can preserve experiential integrity when language encounters the limits of interpretation.Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen.Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, The Journal of Post-Interpretive criticism, The Journal of Post-Interpretive criticism ISSN 2819-7232), The Journal of Post-Interpretive Criticism (Q136530009), Epoch\u00e9 Fidelity Index (EFI) (Q138018710), Phenomenological Phase Alignment Score (PPAS) (Q138018807), Residue Engagement Restraint Ratio (RERR) (Q138018901), Quasi-Subject Agency Recognition Index (QSARI) (Q138018929), Dialectical Circulation Index (DCI) (Q138018950)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Ethical Proximity Score (EPS), Viewer Displacement Ratio (VDR), Institutional Alignment Indicator (IAI), Epoch\u00e9 Fidelity Index (EFI), Phenomenological Phase Alignment Score (PPAS), Residue Engagement Restraint Ratio (RERR), Quasi-Subject Agency Recognition Index (QSARI), Dialectical Circulation Index (DCI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Phenomenology, Aesthetic Phenomenology, Phenomenology of Aesthetic, post-hermeneutics phenomenology, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Custodian\u2019s Oath, The Doctrine of Post-Interpretive Criticism, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Art and spirituality, Contemporary sacred aesthetics, Radical art restraint, Quiet philosophy of art, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4278352","type":"posted-content","created":{"date-parts":[[2026,3,13]],"date-time":"2026-03-13T21:43:31Z","timestamp":1773438211000},"source":"Crossref","is-referenced-by-count":0,"title":["Grammer of Grief"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:00Z","timestamp":1784282220000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4278352\/4278351"}},"issued":{"date-parts":[[2026,3,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4278352","published":{"date-parts":[[2026,3,13]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:05Z","timestamp":1784283005534,"version":"3.55.0"},"posted":{"date-parts":[[2023,2,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,2,21]],"date-time":"2023-02-21T00:00:00Z","timestamp":1676937600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Graduation Seminar (2021) Arts and Visual CommunicationThis document constitutes the memory of the Graduation Seminar of the year 2021 of the School of Art and Visual Communication (EACV) of the National University (UNA), Costa Rica.The theme endorsed by the Academic Unit for 2021 consists of the project directed by Dr. Phil. Yamil Hasbun Chavarr\u00eda (EACV) and the M.A. Pamela Jim\u00e9nez Jim\u00e9nez (School of Performing Arts): Nodos Activos (Investigaci\u00f3n + Practica art\u00edstica (Spanish for Active nodes: Research + artistic practice). The Seminar is materialized in 5 associated research projects focused on 5 different topics: Artistic research through dialogical and playful processes; Artistic research in the 4th Industrial revolution; The urge to allow research performed by students to be further and easier exposed; the experience interdisciplinary artistic research; and experiences of meta-artistic research.Authors\/students:Mariana Ca\u00f1as Lopez, Gloriana Cordero Rojas, Valeria Esquivel Jim\u00e9nez, Wensi Fuentes Hern\u00e1ndez, Andres garita Brise\u00f1o, Susana Gonzales Gabrilova, Mar\u00eda Gabriela Isturiz Rojas, Valeria Leiva Ruiz, Yendry Madrigal Mora, Mariela Mart\u00ednez Alfaro, Gabriela Mora Araya, Maria Soledad Morales Brenes, Tifany Perla Brenes, Randy Rojas Diaz, Jose Solano Sanchez<\/jats:p>\n keywords: seminar, artistic research, Thesis, visual communication, Design research<\/jats:p>","DOI":"10.22501\/rc.1919547","type":"posted-content","created":{"date-parts":[[2023,2,21]],"date-time":"2023-02-21T09:51:19Z","timestamp":1676973079000},"source":"Crossref","is-referenced-by-count":0,"title":["Graduation Seminar (2021) Arts and Visual Communication"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-3339-8559","authenticated-orcid":false,"family":"Yamil Hasbun Chavarr\u00eda","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Pamela Jim\u00e9nez Jim\u00e9nez","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:39Z","timestamp":1784282379000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1919547\/1919548"}},"issued":{"date-parts":[[2023,2,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1919547","published":{"date-parts":[[2023,2,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:29Z","timestamp":1784286269310,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2016,11,8]],"date-time":"2016-11-08T00:00:00Z","timestamp":1478563200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,11,8]]},"abstract":"The object of my research involves an elementary particle of meaning: a letter of the alphabet. The claim that a single letter can make to meaning is clear in the case of an initial\u2014which is usually a single, capital letter\u2014and even more so when this initial appears in the context of a signature. Specifically, my research deals with the initial letter \"R\" used by the 17th-century Dutch painter Rembrandt Harmenszoon van Rijn (1606-1669) in his signatures.The meanings that an initial letter can mediate are not limited to identification and references to a full name. Letters of the alphabet, while being basic verbal units, have visual, not to say pictorial features. All by itself, a letter is not yet a word or phoneme. It exhibits the formal characteristics of a sign, grapheme, symbol. Many of the major writing systems in the world\u2014phonetic or not\u2014were derived from pictograms, from representational pictorial symbols. We all learned to write by drawing letters before combining them into words.The pictorial history of letters and writing (then printing) has been ignored by mainstream art history, which has devoted its attention to works of \"high art,\" like painting. At what scale does an intentionally-made visual form become pictorially significant? The pictorial component is obvious in calligraphy and typography, even if only to a specialized audience. But there is a blindness relative to letter forms, such that, for example, few readers are aware of the shapes of the type or handwriting they are reading. This blindness is all the more surprising considering the fact that even phonetic writing was a visual achievement: the rendering of speech visible. Given this, the traditional opposition between the verbal and the visual, between word and image, needs to be reconsidered in terms of vision coupled with blindness. Vision, because eyes read texts and see pictures. Blindness, because in both cases the medium\u2014print or paint\u2014is overlooked. I postulate this seeing\/not-seeing paradox as a principle of vision-based works that could be summarized by the word overlooking. This ambiguous term can mean both \"not seeing things\" and \"seeing things.\" Often, we end up either not noticing certain things or \"seeing things\" by virtue of looking too much: this is a basic risk in research of any kind. In reference to Edgar Allan Poe's famous detective tale, The Purloined Letter (1844), which provides a paradigmatic case of overlooking, I like to call it the \"Purloined Principle.\"Given the pictorial significance of a letter of the alphabet, a study of Rembrandt's signature\u2014the graphic sign of his identity\u2014will reveal that it may be considered as a historical, existential and esthetic document in its own right.<\/jats:p>\n keywords: Rembrandt, signatures, writing, pictogram, Poe, blindness, attention, letters as form<\/jats:p>","DOI":"10.22501\/jar.250318","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T15:52:36Z","timestamp":1492444356000},"source":"Crossref","is-referenced-by-count":0,"title":["The Rembrant Search Party"],"prefix":"10.22501","author":[{"family":"Jean-Marie Clarke","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:13:16Z","timestamp":1784283196000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/250318\/250319"}},"issued":{"date-parts":[[2016,11,8]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/jar.250318","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2016,11,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:13Z","timestamp":1784286433555,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,5,20]],"date-time":"2021-05-20T00:00:00Z","timestamp":1621468800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,5,20]]},"abstract":"Diminutions, divisions, and doubles are essentially different words for the same practice in viol literature - ornamenting music by dividing notes into smaller notes. The practice varies in name based on its context: in Italian and Spanish music it is called diminution, in English music it is called division, and in dance movements from French suites it is called a double. The question then remains: why do these theoretically identical practices remain distinct in name? Are there other ways in which they differ?This exposition argues that there are indeed other ways in which these different families of diminution-style ornaments differ, and for this purpose it examines texts and scores from each group. For diminutions, the focus was Silvestro Ganassi\u2019s \u201cOpera intitulata Fontegara\u201d (1535) and Diego Ortiz\u2019 \u201cTrattado de Glossas\u201d (1553); for divisions, Christopher Simpson\u2019s \u201cThe Division Viol\u201d (1659); and for doubles, Marin Marais books of \u201cPi\u00e8ces de viole\u201d (1686-1725). The first chapter is an explanation of the chronological history of these different practices, beginning with diminution during the Italian Renaissance, moving to England in the mid-17th century, and ending with Marais\u2019 suites from the late-17th to early-18th centuries. The second chapter explains the contextual differences of each style (in which genre\/musical setting it was applied). The third chapter explores stylistic elements that are unique to each style, and the fourth chapter discusses the implications this information has for the modern player of the viola da gamba.<\/jats:p>\n keywords: Diminutions, violin, viola da gamba, divisions<\/jats:p>","DOI":"10.22501\/koncon.1179217","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:21Z","timestamp":1725907221000},"source":"Crossref","is-referenced-by-count":0,"title":["Diminutions, Divisions, and Doubles in Viol Literature"],"prefix":"10.22501","author":[{"family":"Alex Baker","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:40:02Z","timestamp":1784284802000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1179217\/1179218"}},"issued":{"date-parts":[[2021,5,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1179217","published":{"date-parts":[[2021,5,20]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:13Z","timestamp":1784286493555,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2018,9,24]],"date-time":"2018-09-24T00:00:00Z","timestamp":1537747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: May Kristin Svanholm HegvoldMain Subject: Early Music SingingResearch Supervisor: In\u00eas de Avena BragaTitle of Research: Madness in musicResearch Question: How can one, convincingly, portray madness in a musical performance without being considered in a state of madness?Summary of Results:In the 17th century, madness was a relatively common theme in entertainment such as poetry, theatre, and music. There was something that fascinated the people of that time with the uncontrollable nature of madness. Henry Purcell and Thomas d\u2019Urfey was among the many writers and composers who dealt with this subject, and a selection of their mad songs and texts are the main focus of my research.Feelings such as love, hate, envy, sadness and happiness are feelings most of us have felt in our life, but madness is perhaps a state that is exclusive to some people. Is it then possible to portray this state of mind convincingly in a performance of the music? To answer this question, I have examined how madness was portrayed by Purcell and d\u2019Urfey, and generally how people that were considered mad was treated and viewed by the society. After researching the madness of the 17th century and what we today view as madness through music, text, historical documents and other forms of entertainment, I have come to the conclusion that it is possible to portray madness convincingly, but that madness is something completely different than the feelings previously mentioned. One person can view something as madness while someone else sees it as completely normal.Biography:May Kristin Svanholm Hegvold is a soprano from Norway. She did her bachelor's degree at the Conservatoire in Trondheim with professor Elisabeth Meyer-Tops\u00f8e, and is now studying for a master's degree in the early music department at the Royal Conservatoire in The Hague, with Rita Dams. May Kristin has participated as a soloist in many productions, including the premieres of two new operas by Norwegian composers, \u201cPappapermisjon\u201d by Bertil Palmar Johansen and \u201cKommentarfeltet\u201d by Trygve Br\u00f8ske. She has also, among other things, been the soloist in Pergolesi\u2019s \u201cStabat Mater\u201d and sung the roles of Dido, 2nd Woman and 1st Witch from the opera \u201cDido and Aeneas\u201d. Her latest roles involve Pamina from the opera \u201cDie Zauberfl\u00f6te\u201d and Piacere from H\u00e4ndels \u201cIl Trionfo del Tempo\u201d.<\/jats:p>\n keywords: madness, music, Purcell, d'Urfey, Bedlam<\/jats:p>","DOI":"10.22501\/koncon.299015","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:43:55Z","timestamp":1725907435000},"source":"Crossref","is-referenced-by-count":0,"title":["Madness in music"],"prefix":"10.22501","author":[{"family":"May Kristin\t Hegvold","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:47:08Z","timestamp":1784285228000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/299015\/299016"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.299015","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993752,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"31","license":[{"start":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T00:00:00Z","timestamp":1703116800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,12,21]]},"abstract":"The term 'literacy' encompasses reading and writing practices, each with distinct meanings and histories. Scholars define individuals as 'literate' or 'illiterate' based on these practices, a point not to be taken lightly. New literacies studies have expanded literacy from print to encompass all forms of meaning-making, leading to an expansion of associated terminology. In American higher education, despite the expanded meanings of terms like 'writing' and 'text,' the term 'research' remains dominated by written language, even within dedicated disciplines (Coiro et al. 2008; New London Group 1996; Wilber 2008). Through a cultural studies perspective, I traced the historical evolution of American literacy to the present day. The study revealed darker consequences of literacy's past, providing insights for scholars to understand silenced voices and advocate for their inclusion in the future. Given the ever-expanding practices of literacy, the need for increased attention to writing instruction, and the problematic otherness of arts-based disciplines such as fashion, my goal is to broaden the range of accepted scholarly compositions in higher education. I believe this pursuit is key to the advancement of academic research publications. To address this paradox, I actively embraced new literacy practices by creating a dissertation supported by Barone & Eisner\u2019s (2012) concept of arts based research. Drawing on my experiences in the industry, I sought to challenge views of fashion as frivolous by writing my dissertation in the language of dress, offering a new perspective on the interwovenness of literacy and fashion. My dissertation argues that fashion is a form of writing by exploring nonverbal communication in scholarly work. This move reconciled the perceived frivolity with the substantive nature of fashion and ignited my commitment to the acceptance of research in diverse language forms.<\/jats:p>\n keywords: New literacies, Cultural studies, Nontraditional dissertation, Written word, Fashion, Arts based research, Texture, Body, Women, Higher education, Dissertation, museum, academic research<\/jats:p>","DOI":"10.22501\/jar.696721","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T12:06:57Z","timestamp":1703160417000},"source":"Crossref","is-referenced-by-count":0,"title":["[text]uring: writing through fashion for a new literacies dissertation"],"prefix":"10.22501","author":[{"family":"Rachel Kaminski Sanders","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:43Z","timestamp":1784282383000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/696721\/942755"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"journal-issue":{"issue":"31"},"URL":"https:\/\/doi.org\/10.22501\/jar.696721","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2022,4,5]],"date-time":"2022-04-05T01:51:13Z","timestamp":1649123473494},"posted":{"date-parts":[[2022,3,9]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1559800","type":"posted-content","created":{"date-parts":[[2022,3,9]],"date-time":"2022-03-09T19:35:22Z","timestamp":1646854522000},"source":"Crossref","is-referenced-by-count":0,"title":["A journey through the Romantic spirit: challenges of Chopin's Nocturne No. 8"],"prefix":"10.22501","author":[{"family":"Bruno Lomonaco","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2022,3,9]],"date-time":"2022-03-09T19:35:22Z","timestamp":1646854522000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1559800\/1559801"}},"issued":{"date-parts":[[2022,3,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1559800","published":{"date-parts":[[2022,3,9]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:09Z","timestamp":1742294409864,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0036","type":"report","created":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T22:41:28Z","timestamp":1603838488000},"source":"Crossref","is-referenced-by-count":0,"title":["Rese\u00f1a del libro de Luciana Marino (comp., ed.), \"Un libro de actividades. Experiencias en primera persona sobre la educaci\u00f3n en el arte\""],"prefix":"10.22501","author":[{"given":"Mariela","family":"Yeregui","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,10,27]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:08Z","timestamp":1742292188000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/resena-del-libro-de-luciana-marino-comp-ed-un-libro-de-actividades-experiencias-en-primera-persona"}},"issued":{"date-parts":[[2020,10,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0036","published":{"date-parts":[[2020,10,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977729,"version":"3.55.0"},"posted":{"date-parts":[[2024,8,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,8,31]],"date-time":"2024-08-31T00:00:00Z","timestamp":1725062400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is a free but un-in-dependent (yes yes complex) reflexion from my ongoing research project on auto\/theory aut\/istic art\/istic achive work is presented as a multi-media work-in-progress chewing itself and re-inventing different ways of re-using it's own material and philosophical heritage. It combines the professional with amateurism, na\u00efvet\u00e9, affection, private stuff, too-strange-de\/signs. The project considers weird and possibly feminist ways of regarding the self as, a kind of digestive system, never separated from bodily metabolism, never separated from earthly or cosmic re-livings of materials and ideas and desires. It works through queer and neuroqueer formulations of textual and textile lives and matters.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2982094","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T11:38:39Z","timestamp":1725536319000},"source":"Crossref","is-referenced-by-count":0,"title":["COMPOST \/AS\/ COMPOSITION : AN ARCHEOLOGY OF AUTO-EATING"],"prefix":"10.22501","author":[{"family":"Anna Nygren","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:38Z","timestamp":1784282318000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2982094\/2982058"}},"issued":{"date-parts":[[2024,8,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2982094","published":{"date-parts":[[2024,8,31]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030340,"version":"3.55.0"},"posted":{"date-parts":[[2024,12,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T00:00:00Z","timestamp":1733097600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition presents my final project for the Master of Arts in Jazz Performance, Drumset, undertaken from autumn 2022 to spring 2024. The project was motivated by my exposure to diverse African rhythms, which revealed potential connections with the traditional music of my Costa Rican heritage. Growing up surrounded by Costa Rican folk music, including African-origin instruments such as the marimba, quijongo, as well as cimarronas (street bands), deeply influenced my musical identity. This project aims to explore and integrate these rhythms, tracing their African roots and merging them with contemporary musical forms. Inspired by Henry Cole's perspective on folklore as the essence and life of music, this research emphasizes the importance of connecting academic knowledge with folk traditions. Throughout my career, I have engaged with various musical traditions, always seeking to blend them with folk music. This project builds on my previous work, which examined the introduction and adaptation of Costa Rican folk rhythms on the modern drumset. In this continuation, I focus on the historical and rhythmic connections between Latin American and African traditions, using artistic research to deepen the understanding and appreciation of these intertwined musical heritages.<\/jats:p>\n keywords: jazz, jazz drums, performance, composition, composition and performance analysis, folk music, African Diaspora, costa rica<\/jats:p>","DOI":"10.22501\/rc.2966716","type":"posted-content","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T03:30:34Z","timestamp":1733110234000},"source":"Crossref","is-referenced-by-count":0,"title":["Echoes - An exploration of the African rhythmic influence in Costa Rican folk music"],"prefix":"10.22501","author":[{"family":"Nelson Brice\u00f1o Peraza","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:31Z","timestamp":1784282311000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2966716\/2966717"}},"issued":{"date-parts":[[2024,12,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2966716","published":{"date-parts":[[2024,12,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:48Z","timestamp":1784283048685,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.As the self became the field, the gaze was narrowed and began looking inwards into the physical confines of the house.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1281667","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T03:36:48Z","timestamp":1622691408000},"source":"Crossref","is-referenced-by-count":0,"title":["Narrowing of the Gaze"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:06Z","timestamp":1784282406000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1281667\/1281668"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1281667","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:19Z","timestamp":1784283019560,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T00:00:00Z","timestamp":1740873600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"As part of the 'Borderline Physical' PHD Project and the \"Spirits in Complexity\" PEEK Project, this iteration investigates the auditory landscape of a specific fridge in a specific caf\u00e9 in Vienna, Austria.The fridge is captured into a physically informed model, recreating its surprisingly complex sound emissions. This model is presented as an installation on-site, next to the fridge whose current working status is unknown (it was broken recently). At the SAR the model is treated as a musical instrument and freely used in complete disregard of physical constraints, leading up to a musical performance that explores a different form of artistic exploration of our sonic environment.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3112940","type":"posted-content","created":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T12:34:41Z","timestamp":1740918881000},"source":"Crossref","is-referenced-by-count":0,"title":["Borderline Physical: Digital Twintrine"],"prefix":"10.22501","author":[{"family":"Patrik Lechner","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:19Z","timestamp":1784282299000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3112940\/3112941"}},"issued":{"date-parts":[[2025,3,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3112940","published":{"date-parts":[[2025,3,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:07Z","timestamp":1784369107953,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,7,14]],"date-time":"2026-07-14T00:00:00Z","timestamp":1783987200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,7,14]]},"abstract":"The project MELT is about longing and grief for a winter landscape that can no longer be taken for granted. With film and performance the climate crisis is explored from the perspective of the Polar Animals.In the exhibition hall the Polar Animals reconstruct their lost habitat of snow and ice based on their memories. Ice melts glaciers are rebuilt and the fractal patterns of snowflakes are visualized in films projected onto the Iceberg, a mountain built from white cardboard boxes. The habitat of the Polar Animals becomes a space where film performance and installation merge and where the iceberg becomes a stage for dance and meditationMELT creates a space for reflection on a changing climate.<\/jats:p>\n keywords: ecocritical performance, animation, ice, animal, snow, masks, climate change, arctic<\/jats:p>","DOI":"10.22501\/artact.3907656","type":"journal-article","created":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:33:31Z","timestamp":1784108011000},"source":"Crossref","is-referenced-by-count":0,"title":["MELT: an exploration of ice and snow"],"prefix":"10.22501","author":[{"family":"Kristina Frank","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:25:24Z","timestamp":1784366724000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3907656\/3948599"}},"issued":{"date-parts":[[2026,7,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/artact.3907656","published":{"date-parts":[[2026,7,14]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:27Z","timestamp":1784365887984,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2024,3,25]],"date-time":"2024-03-25T00:00:00Z","timestamp":1711324800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2024,3,25]]},"abstract":"Dette prosjektet er en kunstnerisk utforsking av stemmens klanglige egenskaper, med utgangspunkt i en klassisk ut\u00f8verpraksis, og av spenningsfeltet som oppst\u00e5r mellom tradisjon, teknikk, stil og sjanger n\u00e5r disse konfronteres med hverandre og hybridiseres. Dynamikken mellom elementene som veves sammen, utforskes gjennom begreper og konsepter hentet fra Karen Barad: diffraksjon, intra-aksjon, agentisk kutt, re-turning og entanglement. Jeg lanserer begrepet diffraktiv refleksjon som metode for \u00e5 anse materialer p\u00e5 nytt gjennom intra-aksjon og sammenvevinger av spacetimematter. Fortiden \u00e5pnes opp for \u00e5 anses p\u00e5 nytt, n\u00e5r tid \/rom blir rekonfigurert, kuttet sammen-med\/fra, og vevet sammen i nye relasjoner gjennom diffraktiv refleksjon. Alle delene i prosjektet, aktivitet og eksposisjon, er forbundet \u2013 entangled. Omr\u00e5det unders\u00f8kelsene foreg\u00e5r i, defineres som Grenseland. Arbeidet viser hvordan en kan \u00e5pne opp \u2013 og utfordre \u2013 en etablert praksis ved \u00e5 ta i bruk nye og uvante grep fra andre praksiser.<\/jats:p>\n keywords: Stemme, Sang, vokalpraksis, ut\u00f8verpraksis, Berit Norbakken, Karin Rehnqvist, Barbara Strozzi, Contrafacta, Grenseland, diffraction, intra-action, entanglement, agential-cut, Solmund Nystabakk<\/jats:p>","DOI":"10.22501\/nmh-ar.1227536","type":"journal-article","created":{"date-parts":[[2024,3,25]],"date-time":"2024-03-25T06:21:05Z","timestamp":1711347665000},"source":"Crossref","is-referenced-by-count":0,"title":["Grenseland - i stemmen"],"prefix":"10.22501","author":[{"family":"Berit Norbakken","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:01:18Z","timestamp":1784365278000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1227536\/1227537"}},"issued":{"date-parts":[[2024,3,25]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1227536","published":{"date-parts":[[2024,3,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:48Z","timestamp":1784286408000,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,6,4]],"date-time":"2024-06-04T00:00:00Z","timestamp":1717459200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,6,4]]},"abstract":"Discovering Afro-Cuban music as a classical musician was an outstanding moment in my career. Realizing how unusual it is for French Horns to be involved in this style inspired me to start this research and further develop my skills. Even though it is usual to find trombones and trumpets in Afro-Cuban music ensembles, it is challenging to find examples with French Horn players. Currently, the most successful horn player in this genre is Sarah Willis, who fell in love with Cuban rhythms and decided to share them by creating innovative albums. The methodology of this research includes a literature review of existing works related to Afro-Cuban music, interviews with experienced players in this field, and practical demonstrations in video form. The theoretical framework provides a brief review of Afro-Cuban music from its origins until today, paying special attention to the practically non-existent presence of French Horn players in this field. The practical framework collects data on the challenges that a classical French Horn player may encounter when playing this music and offers possible solutions. As a result of this study, I now have a better understanding of this style and why the horn is not usually included in it. Also, having the experience of playing Afro-Cuban music as a classical musician has clarified the differences and difficulties of approaching this music but more so how it can nourish my musical practice with new skills.The chosen format of presentation will be a public exposition of the results of the research.<\/jats:p>\n keywords: Horn, Afro-cuban Rhythms, Cuba, dance<\/jats:p>","DOI":"10.22501\/koncon.2366467","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:05Z","timestamp":1725906965000},"source":"Crossref","is-referenced-by-count":0,"title":["La trompa de la salsa: the role of the French Horn in Afro-Cuban music"],"prefix":"10.22501","author":[{"family":"Ana Mu\u00f1oz Koniarska","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:27:49Z","timestamp":1784284069000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2366467\/2378146"}},"issued":{"date-parts":[[2024,6,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2366467","published":{"date-parts":[[2024,6,4]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:46Z","timestamp":1784290126907,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2019","license":[{"start":{"date-parts":[[2019,9,19]],"date-time":"2019-09-19T00:00:00Z","timestamp":1568851200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["acpa"],"published-print":{"date-parts":[[2019,9,19]]},"abstract":"An important question facing musicians both in the practice room and on stage is \u201cWhat should I focus on?\u201d There is a great deal of research in the fields of movement sciences and sports that suggests that adopting an external focus of attention \u2013 focusing on the intended effects of one\u2019s movements \u2013 can be beneficial both for learning and for performance of complex motor skills. There has been very little research done on the effects of external focus on musicians. The aims of this study on external focus were as follows: to translate the idea of external focus from movement science into the field of music (how can external focus be characterized for music-making?); to design several ways to use, test and explore the application of external focus in field situations; and to collect data and find information to elucidate the effects of external focus and the instances in which it can work for musicians. A series of three empirical projects were designed and carried out in both semi-controlled as well as natural environments. The mixed methods research approach included both quantitative and qualitative elements. A music-pedagogical practice tool based on external focus was designed and used in all three projects. The first project involved natural trumpet players (n=7) who practiced fragments of repertoire using an external focus practice tool. Results were compared the their \u2018usual\u2019 practice methods. Quantitative data was collected to show the effects of external focus on accuracy, self-efficacy, confidence and motivation of the players. In the second project the same seven players participated in the preparation and performance of a chamber music concert for trumpet consort. The third project involved a chamber ensemble of 18 players including string players, trumpeters and keyboard players. In projects two and three the performances were prepared and rehearsed by using tools and techniques based on external focus. Qualitative data was collected from questionnaires, surveys and interviews.Results from the three projects tentatively supported the overall hypothesis: External focus is beneficial to musicians\u2019 learning and performance experience. Statistical results showed positive effects of external focus on accuracy and suggest a positive trend for confidence and for self-efficacy in performance. Qualitative data from interviews and surveys over the three interventions showed the performers\u2019 ensemble playing was enhanced by using an external focus approach, and that they suffered much less from performance anxiety than usual.External focus could play a larger role in music pedagogy for musicians at every level and stage of learning. The kind of procedural implicit learning that results from using tools based on external focus means that technique (motor control) is being informed by musical intention and not the other way around.<\/jats:p>\n keywords: External focus, Musicians's motor learning, Attentional focus, Musical imagery, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/acpa.497578","type":"journal-article","created":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:33:13Z","timestamp":1784107993000},"source":"Crossref","is-referenced-by-count":0,"title":["Finding Focus"],"prefix":"10.22501","author":[{"family":"Susan Williams","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Academy of Creative and Performing Arts"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:54:49Z","timestamp":1784289289000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/497578\/497694"}},"issued":{"date-parts":[[2019,9,19]]},"references-count":0,"journal-issue":{"issue":"2019"},"URL":"https:\/\/doi.org\/10.22501\/acpa.497578","published":{"date-parts":[[2019,9,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:58Z","timestamp":1784290018229,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This paper intends to investigate urban ambiances through focusing on the world of sounds. Although the aesthetics of everyday life implies employing the whole human sensorium, making it difficult to artificially separate the information received from the individual senses from each other, I explore what can be learned about an ambiance when we just listen to it. In other words, how and under which conditions is it possible to develop a sonic paradigm of urban ambiances? The basic argument is to consider sound as a particularly efficient medium to investigate and develop an account of urban ambiances. Various ideas will be explored in order to answer this question, involving theoretical, epistemological and methodological arguments. Three main directions are accentuated: the first one relates to\u00a0the\u00a0tuning into an ambiance, the second relates to the unfolding of an ambiance, and the third relates to the situating within an ambiance.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.220589","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:59Z","timestamp":1733131559000},"source":"Crossref","is-referenced-by-count":0,"title":["A Sonic Paradigm of Urban Ambiances"],"prefix":"10.22501","author":[{"family":"Jean-Paul Thibaud","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:44:06Z","timestamp":1784288646000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/220589\/220590"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.220589","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:20Z","timestamp":1784282960963,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,26]],"date-time":"2026-01-26T00:00:00Z","timestamp":1769385600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This project researches body and object relationships through practical exploration (practice-led research) in suspension and on the ground. It illuminates connected thoughts linked to posthuman philosophy, permaculture, physical movement and contemporary circus.Our perception of the world is getting more global and connected, but we have not realised yet the full complexity of all the interdependencies and interplays. In fact it is more than questionable whether this might be graspable for any human to its full extend at all\u2026The state of being \u2018in suspension\u2019 is taken as an analogy for the times we live in \u2013 life itself. In a world in which pop-stars sing \u2018I have no roots\u2019 (Merton, 2016), mass-migration makes people leave their homes involuntarily and others choose nomadic livestyles that leave them only loosely connected with a geographical place and a single culture. But at the same time, we are always tightly connected (digitally) with \u2018the whole world\u2019.'How to strike roots into the void?' is the essential question of this interdisciplinary research, which has its roots deep 'down' in aerial acrobatic movement. How could this rooting be possible at all? And in which ways? \u2013 referring to the question of quality: 'HOW' can we in these times as human being strike out our own roots? Who and what can keep us grounded? To whom or what are we reaching out to search for connection? What nourishes us? And where to hold on to, if the substrate is emptiness \u2013 the Void \u2013 the uncertainty of life itself?<\/jats:p>\n keywords: circus, aerial acrobatics, movement, physicality, performance, artistic research, body, suspension, object-body relationship, philosophy, permaculture, applied arts, interdisciplinary performance, interdisciplinarity, interconnectivity<\/jats:p>","DOI":"10.22501\/rc.588915","type":"posted-content","created":{"date-parts":[[2026,1,26]],"date-time":"2026-01-26T17:02:16Z","timestamp":1769446936000},"source":"Crossref","is-referenced-by-count":0,"title":["how to strike roots into the void \u2013 a trapeze artists view on artistic processes as permacultural growing"],"prefix":"10.22501","author":[{"family":"Carmen Raffaela K\u00fcster","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:15Z","timestamp":1784282235000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/588915\/588916\/0\/726"}},"issued":{"date-parts":[[2026,1,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.588915","published":{"date-parts":[[2026,1,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:54Z","timestamp":1784282994675,"version":"3.55.0"},"posted":{"date-parts":[[2022,8,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,8,23]],"date-time":"2022-08-23T00:00:00Z","timestamp":1661212800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Inspired by my lifelong history in working with horses, especially through the philosophy of natural horsemanship, Queerin\u2019 the Hoggee draws attention to the complicated human-animal relationships in the industrial past.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1625223","type":"posted-content","created":{"date-parts":[[2022,8,23]],"date-time":"2022-08-23T05:07:27Z","timestamp":1661231247000},"source":"Crossref","is-referenced-by-count":0,"title":["Queerin\u2019 the Hoggee"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-3783-9769","authenticated-orcid":false,"family":"Marko Mikael Marila","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:47Z","timestamp":1784282387000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1625223\/1625222"}},"issued":{"date-parts":[[2022,8,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1625223","published":{"date-parts":[[2022,8,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:04Z","timestamp":1784283004577,"version":"3.55.0"},"posted":{"date-parts":[[2019,6,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,6,22]],"date-time":"2019-06-22T00:00:00Z","timestamp":1561161600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Installation multim\u00e9dia<\/jats:p>\n keywords: diaspora, videoart, fotogrammetrie, immigration, fauna, entit\u00e9, entity<\/jats:p>","DOI":"10.22501\/rc.634801","type":"posted-content","created":{"date-parts":[[2019,6,22]],"date-time":"2019-06-22T09:39:38Z","timestamp":1561196378000},"source":"Crossref","is-referenced-by-count":0,"title":["FAUNA - D\u00e9faroucher"],"prefix":"10.22501","author":[{"family":"ludmila steckelberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:46Z","timestamp":1784282446000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/634801\/634802"}},"issued":{"date-parts":[[2019,6,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.634801","published":{"date-parts":[[2019,6,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:54Z","timestamp":1784286234038,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","license":[{"start":{"date-parts":[[2019,12,28]],"date-time":"2019-12-28T00:00:00Z","timestamp":1577491200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2019,12,28]]},"abstract":"The importance of tactile contact between the artist and their jewellery has increased over the last decade. More and more artists now implement digital technologies into their work process. This raises questions about the notion of tactility, something that is usually associated as something tangible or given to touch. The authors show that there is a different sensorial mode of engagement with jewellery presented on the screen: during the 3D modelling process or 3D printing. This article aims to investigate the intangible qualities of tactility in the field of digital crafts, while focusing on the material, technical, performative, and psychological aspects. The outcomes include a set of tactile qualities evoked by screen-oriented labour and machinery production: resolution sensitivity, thin-skinned data, psycho-performative realism; and fingerprints, incompleteness and glitch.<\/jats:p>\n keywords: contemporary jewellery, tactility, digital technologies, digitally produced jewellery, artistic experience, digital self, digital representation of jewellery, 3D printing<\/jats:p>","DOI":"10.22501\/jar.612909","type":"journal-article","created":{"date-parts":[[2019,12,28]],"date-time":"2019-12-28T17:12:55Z","timestamp":1577553175000},"source":"Crossref","is-referenced-by-count":0,"title":["Digitally Produced Jewellery: Tactile Qualities of a Digital Touch"],"prefix":"10.22501","author":[{"family":"Sofia Hallik","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Darja Popolitova","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:36Z","timestamp":1784282916000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/612909\/715222"}},"issued":{"date-parts":[[2019,12,28]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/jar.612909","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2019,12,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:39Z","timestamp":1784282979298,"version":"3.55.0"},"posted":{"date-parts":[[2025,5,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,16]],"date-time":"2025-05-16T00:00:00Z","timestamp":1747353600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/Public_domain"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In once-uniform, traces of life emergea neighbourhood, built for ordernow breathes individuality over time, structure makes expressiona slow transformation shapednot by plans, but by presencetiles, shadows, colorsquiet gestures speak of daily routinespeople who made this place their ownimprints, not imposed but livedtogether, form the memory of spacea home grown into differencs<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3498377","type":"posted-content","created":{"date-parts":[[2025,5,16]],"date-time":"2025-05-16T06:33:16Z","timestamp":1747377196000},"source":"Crossref","is-referenced-by-count":0,"title":["IMPRINT"],"prefix":"10.22501","author":[{"family":"PP","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"TC","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"CAW","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"BC","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:08Z","timestamp":1784282288000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3498377\/3500352"}},"issued":{"date-parts":[[2025,5,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3498377","published":{"date-parts":[[2025,5,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:30Z","timestamp":1784282970537,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Sharp Shooter as a project stems from the exploration of the possibility for there to be three-dimensional objects made out of sound. The culmination of the research was displayed as an Interactive sculptural installation titled Sharp Shooter was exhibited in \u201cRemembering the Future: Digital Art in Malta 1989-2019\u201d in September 2018 at Spazju Kreattiv and curated by Prof Vince Briffa and Dr Toni Sant.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4094098","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T09:55:25Z","timestamp":1774432525000},"source":"Crossref","is-referenced-by-count":0,"title":["Sharp Shooter"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-0219-0974","authenticated-orcid":false,"family":"Matthew Galea","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:56Z","timestamp":1784282216000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4094098\/4094099"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4094098","published":{"date-parts":[[2026,3,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T10:09:25Z","timestamp":1784110165760,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,8,15]],"date-time":"2025-08-15T00:00:00Z","timestamp":1755216000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uis"],"published-print":{"date-parts":[[2025,8,15]]},"abstract":"AbstractThe E(c)lect(r)ic Guitar in The Mechanical Forest is my investigation into how to expand my improvisational palette as an electric guitarist, by working with compositional techniques and concepts used in composed contemporary western art music. In my work, I have focused on incorporating movement, microtonality, as well as multimedia composition techniques and application of technology, both in the performance as well as in the creative process. A key focus of my artistic practice has been exploration of the transcorporeal nature of my relationship with the guitar. This has resulted in creative work which has grown from a deep focus on the materiality of the guitar and the visual, tactile (touch) and kinetic (movement) aspects of sound production. Research Questions1\t How can I use compositional techniques and concepts from contemporary composed western art music to expand my palette as an improvising guitarist? 2\tHow can I transfer musical techniques and concepts, which often are used in a strictly predetermined environment, to a musical situation where improvisation is an important element in the performance. 3\tHow can I reconfigure\/extend the electric guitar, and how can the reconfigured\/extended guitar reshape the way I create and perform music?<\/jats:p>\n keywords: Guitar, performer as composer, multimedia, improvisation<\/jats:p>","DOI":"10.22501\/uis.2149409","type":"journal-article","created":{"date-parts":[[2025,8,15]],"date-time":"2025-08-15T08:21:43Z","timestamp":1755246103000},"source":"Crossref","is-referenced-by-count":0,"title":["The E(c)lect(r)ic Guitar in The Mechanical Forest"],"prefix":"10.22501","author":[{"family":"Vidar Schanche","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jonas Howden Sj\u00f8vaag","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Per Zanussi","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Stavanger"],"language":"en","deposited":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:32:47Z","timestamp":1784107967000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2149409\/2196902"}},"issued":{"date-parts":[[2025,8,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uis.2149409","published":{"date-parts":[[2025,8,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:18Z","timestamp":1784289798940,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","license":[{"start":{"date-parts":[[2021,5,21]],"date-time":"2021-05-21T00:00:00Z","timestamp":1621555200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,5,21]]},"abstract":"My interest for plant seeds dates back to my early experiments during the '80, when I collected seeds in urban and rural contexts and translocated them in new habitats. Since then my work has taken different directions. At present I create public art works by installing living sculptures which I denominate as evolutionary gardens. The process behind this practice went through a long transformation recently enriched by the contribution of art curators with whom I engage in long term dialogue. This article explores the process of research between 2007-2017, it describes how I become reflective about my viewing and doing, how I progressively opened the work to multiple influences, and how this has generated a better integrative approach leaning towards the complexity of cognitive structures. Finally I asked a set of questions to the curators who worked with me, with the aim to offer the reader a direct view on the diverse approaches intertwined with my practice.<\/jats:p>\n keywords: seeds, vegetal, conservation, commons, relational, biodiversity, publicart, artproduction, transdisciplinary, evolutionarygardens, performativehabitats<\/jats:p>","DOI":"10.22501\/ruu.792130","type":"journal-article","created":{"date-parts":[[2021,5,21]],"date-time":"2021-05-21T11:33:48Z","timestamp":1621596828000},"source":"Crossref","is-referenced-by-count":0,"title":["Evolutionary Gardens and Performative Habitats"],"prefix":"10.22501","author":[{"family":"Egle Oddo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:23Z","timestamp":1784286503000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/792130\/792131"}},"issued":{"date-parts":[[2021,5,21]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/ruu.792130","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2021,5,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:08Z","timestamp":1784289908353,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","license":[{"start":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T00:00:00Z","timestamp":1752451200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,7,14]]},"abstract":"Petromusicality. On the Sonic Culture of (Plastic) Material and Beyond explores the fossil fuel-based history of music media, focusing on vinyl records and their environmental impact. This Audio Paper examines historical production processes, material consumption, and the resurgence of vinyl culture. Through artistic research projects and expert perspectives, it discusses the political and ethical dimensions of sound reproduction. By highlighting sustainable alternatives and exploring the connections between extraction, mass production, and materiality, the study encourages a deeper engagement with the physical aspects of sound and their global implications.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.3774389","type":"journal-article","created":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T16:19:11Z","timestamp":1752509951000},"source":"Crossref","is-referenced-by-count":0,"title":["Petromusicality. On the Sonic Culture of (Plastic) Material and Beyond"],"prefix":"10.22501","author":[{"family":"Paula Bracker, Karl Salzmann, Samo Zeichen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:28:52Z","timestamp":1784287732000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3774389\/3774390"}},"issued":{"date-parts":[[2025,7,14]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jss.3774389","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2025,7,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:28Z","timestamp":1784283028717,"version":"3.55.0"},"posted":{"date-parts":[[2018,8,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2018,8,9]],"date-time":"2018-08-09T00:00:00Z","timestamp":1533772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"301 Research Semester WorkbookSODA MA HZT\/UDK BerlinApril - July 2018<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.462764","type":"posted-content","created":{"date-parts":[[2018,8,9]],"date-time":"2018-08-09T07:06:25Z","timestamp":1533798385000},"source":"Crossref","is-referenced-by-count":0,"title":["Wormhole Workbook"],"prefix":"10.22501","author":[{"family":"Mariana Nobre Vieira","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:50Z","timestamp":1784282450000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/462764\/462765"}},"issued":{"date-parts":[[2018,8,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.462764","published":{"date-parts":[[2018,8,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948877,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,4]],"date-time":"2026-03-04T00:00:00Z","timestamp":1772582400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We are a network of partners with a two year grant from the Nordic Council of Ministers' Nordplus Horizontal programme. Through a series of 6 workshops in Denmark, Greenland, Norway and Sweden, we will explore how to strengthen resilience in local communities through Health Promoting, sustainable and re-generative learning and design.The partners of the network are: Oslo School of Architecture and Design (AHO) | Anders Folkesson Landskapsarkitektur | Fiona Andersen | Himmelbjergg\u00e5rden and Earth Ways - Nordic Centre for Re-Generative Learning | Malm\u00f6 University\/School of Arts and Communication (K3), Centre for Teaching and Learning (CAKL) and Research Centre for Applied Work Life Experiences (CTA) | Native Greenland Foundation | Ice Wisdom | Norwegian University of Science and Technology\/Departments of Design and Health Sciences (NTNU)<\/jats:p>\n keywords: Design, sustainability, Health, health promotion, community<\/jats:p>","DOI":"10.22501\/rc.4236977","type":"posted-content","created":{"date-parts":[[2026,3,4]],"date-time":"2026-03-04T15:44:53Z","timestamp":1772639093000},"source":"Crossref","is-referenced-by-count":0,"title":["Resilience through Health Promoting and Sustainable Future Workshops, Nordplus Horizontal, NPHZ-2023_10030"],"prefix":"10.22501","author":[{"family":"Anders-Petter Andersson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:04Z","timestamp":1784282224000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4236977\/4236976"}},"issued":{"date-parts":[[2026,3,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4236977","published":{"date-parts":[[2026,3,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:25Z","timestamp":1784365885995,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2024,6,30]],"date-time":"2024-06-30T00:00:00Z","timestamp":1719705600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2024,6,30]]},"abstract":"To be a contemporary music performer today is to have a deeply fragmented practice. The performer\u2019s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious.<\/jats:p>\n keywords: Performing, Precarity, Contemporary music performance, Laurence Crane, Carola Bauckholt, Elizabeth Hobbs, Lisa Streich, Anders F\u00f8risdal, Io A. SIvertsen, Lea Ye Gyoung, Ellen Ugelvik, Jennifer Torrence, Simon L\u00f8ffler, Trond Reinholdtsen, Christian Blom, Hild Borchgrevink, Norwegian Academy of Music, Simon Steen-Andersen, Theater Corpus, Tormod Lindgren, Darla Crispin, ECLAT, Bobby J, 2-Metre Harmony: Uncertain Chorales, Vladimir Tarnopolski, Artistic research, Io A. Sivertsen, Contemporary music, Performance, New Music, experimental music, instruments, audience, animals, networks, disorientation, pandemic, covid, compostion, queer theory, collapse, sharing, improvisation, being together, Bonnie Whiting, Performing precarity<\/jats:p>","DOI":"10.22501\/nmh-ar.2650755","type":"journal-article","created":{"date-parts":[[2024,4,3]],"date-time":"2024-04-03T17:55:03Z","timestamp":1712166903000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing Precarity"],"prefix":"10.22501","author":[{"family":"Laurence Crane, Anders F\u00f8risdal, LEA Ye Gyoung, Io A. Sivert","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Anders F\u00f8risdal","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jennifer Torrence","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Io Sivertsen","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Lisa Streich","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Laurence Crane","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:01:03Z","timestamp":1784365263000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2650755\/2651075"}},"issued":{"date-parts":[[2024,6,30]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2650755","published":{"date-parts":[[2024,6,30]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:07Z","timestamp":1784365867394,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T00:00:00Z","timestamp":1753747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,7,29]]},"abstract":"Masteroppgave, \u00d8ystein Stenersen Opdal<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.3543878","type":"journal-article","created":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:25:25Z","timestamp":1753788325000},"source":"Crossref","is-referenced-by-count":0,"title":["Strukturer i gitarimprovisasjon"],"prefix":"10.22501","author":[{"family":"\u00d8ystein Stenersen Opdal","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:57:53Z","timestamp":1784365073000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3543878\/3543879"}},"issued":{"date-parts":[[2025,7,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.3543878","published":{"date-parts":[[2025,7,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023016,"version":"3.55.0"},"posted":{"date-parts":[[2021,11,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,11,8]],"date-time":"2021-11-08T00:00:00Z","timestamp":1636329600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Since 2018, we have been conducting an artistic research that aims to research sound production techniques of piano in the 21st century. We have been inspired by the words of Karlheinz Stockhausen who declared, in 1992, that \u201cpiano music has come to an end and something quite different is coming\u2026 With the claviers made up to this time, there is nothing new to discover anymore.\u201d The research resulted into a piece composed by a composer Eka Chabashvili in interaction with pianists Nino Jvania and Tamar Zhvania for 2 pianos, modified piano, video-installations and the virtual piano orchestra. The main aim of the piece \u201cHas Piano Music Come to an End?\u201d is to contradict Stockhausen and demonstrate various new possibilities of engaging acoustic piano in contemporary music. In this exposition we offer two different presentations of the same artistic research introducing some of the research results employing, on one hand, academic and, on the other hand, creative writing styles.<\/jats:p>\n keywords: music, piano, performance, composition<\/jats:p>","DOI":"10.22501\/rc.1404191","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:15:01Z","timestamp":1684746901000},"source":"Crossref","is-referenced-by-count":0,"title":["9 Lives of Piano"],"prefix":"10.22501","author":[{"family":"Eka Chabashvili","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Nino Jvania","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Tamar Zhvania","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:59Z","timestamp":1784282399000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1404191\/1404192"}},"issued":{"date-parts":[[2021,11,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1404191","published":{"date-parts":[[2021,11,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:52Z","timestamp":1784283052219,"version":"3.55.0"},"posted":{"date-parts":[[2015,11,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2015,11,26]],"date-time":"2015-11-26T00:00:00Z","timestamp":1448496000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Sight singing is a part of almost every music theory curriculum in conservatoires. But one might ask oneself why lessons in sight singing are needed for students who can already read music notation? The answer usually is: to develop the aural imagination in relation to music notation. The way students have learned to read music notation in the first place did not develop this skill well enough then? Experiences in teaching made me think that we need functional note names (unique sound names) to be able to aurally understand pitch in staff notation, and that the absolute note names (unique pitch names) may be an instrumentally useful, but less effective step \u2018in between\u2019 in the process of aural imagination. From existing literature and recorded tests with students performing special designed scores I hope to learn more about connecting the inner hearing world to music notation in the most effective way.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.114437","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:12:36Z","timestamp":1684746756000},"source":"Crossref","is-referenced-by-count":0,"title":["What's in a name? - The relation between pitch notation, note names and sight singing in different forms of pitch notation and in different ways of approaching pitch notation"],"prefix":"10.22501","author":[{"family":"Suzanne Konings","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:00Z","timestamp":1784282460000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/114437\/114438"}},"issued":{"date-parts":[[2015,11,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.114437","published":{"date-parts":[[2015,11,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:52Z","timestamp":1784282932392,"version":"3.55.0"},"posted":{"date-parts":[[2025,12,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"From the Gezi Park protests of 2013 onwards, Turkey has witnessed a troubling trajectory that reflects signs of an authoritarian dystopia \u2014a word that might resonate with scholars of philosophy. This article interprets the variables of this authoritarianism, raising a question of law and exception on a local-global span. The modern panorama of Turkey presents an urgent case study for scholars examining the interplay between state power, civil liberties, and the public sphere.<\/jats:p>\n keywords: Turkey, Psychoanalysis, Biopolitics, dystopia, authoritarianism, terror<\/jats:p>","DOI":"10.22501\/rc.3441922","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:08:36Z","timestamp":1740722916000},"source":"Crossref","is-referenced-by-count":0,"title":["An Authoritarian Dystopia"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:24Z","timestamp":1784282244000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3441922\/3441921"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3441922","published":{"date-parts":[[2025,12,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974077,"version":"3.55.0"},"posted":{"date-parts":[[2025,7,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,7,23]],"date-time":"2025-07-23T00:00:00Z","timestamp":1753228800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Composing GIFs is an online portfolio of visual micro-compositions. I view these works as music, similar to how Jennifer Walshe and other New Discipline composers see their work in relation to music theatre. \u201cThese compositional techniques \u2013 they are not \u201cmusic theatre\u201d, they *are* music.\u201d (Walshe, 2016).<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2063358","type":"posted-content","created":{"date-parts":[[2025,7,23]],"date-time":"2025-07-23T12:12:17Z","timestamp":1753272737000},"source":"Crossref","is-referenced-by-count":0,"title":["Composing GIFs - Peter Bell"],"prefix":"10.22501","author":[{"family":"Peter Bell","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:00Z","timestamp":1784282280000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2063358\/2063359"}},"issued":{"date-parts":[[2025,7,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2063358","published":{"date-parts":[[2025,7,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:02Z","timestamp":1784286242701,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","license":[{"start":{"date-parts":[[2018,9,28]],"date-time":"2018-09-28T00:00:00Z","timestamp":1538092800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2018,9,28]]},"abstract":"In my artistic doctoral research project \u201cVocal Nest\u201d, I worked with the potentialities of non-verbal vocal art in the conditions of psychical suffering. The situation-sensitive human sound installation was actualized at the central corridor of Helsinki University Central Hospital\u00b4s Psychiatrycenter in Finland. I used the compositional practice of vocal affective attunement as a research medium, to catalyze groups of people, who were as inpatients in the hospital, to create a collective resonance sphere by vocalizing and listening. How did embodied encountering with the human atmospheres create differentiated patterns of meaning making in this material-discursive environment? This exposition, made up of vocal, visual, and textual aspects, proposes that the artistic transmission from the registers of silence toward vocal utterances, as well as from the linguistic reality toward non-verbal vocal expression attuned an archaic mode of connection to the strictly regulated hospital space. It offers alternative and more holistic understanding of the assumedly clear boundaries between subject and object, and healthy and sick, by expanding the expressive scale of what is typically considered as communicative and reasonable. This exposition may be of interest to those interested in the sensate forms of knowledge production and affective potentialities of the human voice, not from the perspective of health benefits, but from the viewpoint of rendering heard the vulnerable, and peripheral attributes of being a human. The blurred atmospheres invite the reader to slightly let go of oneself and attune to a dwelling mode of (reading as) listening. \u201cVocal Nest\u201d was first of a three-part series entitled \u201dHospital Symphonies\u201d, an artistic modulation of the mutually transformative relations between art and psychiatry.<\/jats:p>\n keywords: voice, non-verbal, sound art, psychiatry, sensate knowledge<\/jats:p>","DOI":"10.22501\/jar.387047","type":"journal-article","created":{"date-parts":[[2018,9,28]],"date-time":"2018-09-28T05:38:44Z","timestamp":1538113124000},"source":"Crossref","is-referenced-by-count":0,"title":["Vocal Nest \u2013 non-verbal atmospheres that matter"],"prefix":"10.22501","author":[{"family":"Heidi Marika Fast","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:27Z","timestamp":1784283027000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/387047\/387048"}},"issued":{"date-parts":[[2018,9,28]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/jar.387047","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2018,9,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:35Z","timestamp":1784289875075,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T00:00:00Z","timestamp":1715558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: A Garden for a Fish, Supervisor: Virgil WidrichEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2737968","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:26:48Z","timestamp":1715585208000},"source":"Crossref","is-referenced-by-count":0,"title":["Else\u2019s Riddle: Tracing Clues Along a Tour"],"prefix":"10.22501","author":[{"family":"Margit Busch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:23:53Z","timestamp":1784287433000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2737968\/2737969"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2737968","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977759,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Jeg drar til H\u00f8nefoss for \u00e5 intervjue keramikerpioner Marit Tingleff i hennes hjem og verksted om veien til \u00e5 bli kunstner, bl\u00e5leire og alt mulig annet.<\/jats:p>\n keywords: bl\u00e5leire, marit tingleff, kunsth\u00e5ndverk, norske kunsth\u00e5ndverkere, kunstneraksjonen, keramisk kunst brukskunst, brukskunst, Marit Tingleff, Hana &amp; Holmens potterier, Sandnesleira<\/jats:p>","DOI":"10.22501\/rc.2556190","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T02:08:08Z","timestamp":1741313288000},"source":"Crossref","is-referenced-by-count":0,"title":["Samtale med Marit Tingleff"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:15Z","timestamp":1784282295000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2556190\/2556191"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2556190","published":{"date-parts":[[2025,3,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993708,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,7]],"date-time":"2023-06-07T00:00:00Z","timestamp":1686096000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"AbstractIn the audio paper which forms the center piece of this exposition I have examined the idiolect of country harmonica player Charlie McCoy. In order to gain a multifarious understanding of McCoy\u2019s idiolect I have made transcriptions of his recordings and interviewed McCoy himself and two other prominent harmonica players. With the aim of obtaining a more refined engagement with the performance, I have sought to embody McCoy\u2019s playing by learning to play my transcriptions. The paper shows the prominent features of McCoy\u2019s idiolect and how he created his idiolect while negotiating the affordances of the diatonic harmonica. The paper also shows how I am using transcriptions of his recordings with the intent of transforming my own artistic voice. Keywords: Harmonica, Charlie McCoy, Idiolect, Voice, Affordances, Country music<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1368800","type":"posted-content","created":{"date-parts":[[2023,6,7]],"date-time":"2023-06-07T06:57:52Z","timestamp":1686121072000},"source":"Crossref","is-referenced-by-count":0,"title":["Making it my own"],"prefix":"10.22501","author":[{"family":"Mikael Charlie B\u00e4ckman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:29Z","timestamp":1784282369000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1368800\/1368801"}},"issued":{"date-parts":[[2023,6,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1368800","published":{"date-parts":[[2023,6,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001203,"version":"3.55.0"},"posted":{"date-parts":[[2025,6,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,30]],"date-time":"2025-06-30T00:00:00Z","timestamp":1751241600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is part of the peer-reviewed article:\u00d8stern, T. P., Reppen, C., O\u2019Connell, S., & Daneberg, M. (2025). Choreographer\/researcher\/teacher: Developing a\/r\/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2). https:\/\/doi.org\/10.7577\/ar.5460This exposition explores my a\/r\/tographic design dive as course coordinator of the course \"A\/r\/tography in theory and practice in higher education\" (7.5 ects) at Stockholm University of the Arts.The decision to create and offer this course arose from a large collaborative change project at the former Department for Dance Pedagogy. The project led to a revision of the BA in Dance Pedagogy into an a\/r\/tographic study program, emphasizing the entangled roles of choreographer, researcher, and teacher.The course was developed to support professional development in a\/r\/tography for staff teaching across arts disciplines in higher education.As course coordinator, I dove into the course design a\/r\/tographically.<\/jats:p>\n keywords: a\/r\/tography, higher education<\/jats:p>","DOI":"10.22501\/rc.2088698","type":"posted-content","created":{"date-parts":[[2025,6,30]],"date-time":"2025-06-30T02:31:48Z","timestamp":1751250708000},"source":"Crossref","is-referenced-by-count":0,"title":["A\/r\/tographic design of an a\/r\/tographic course for staff in higher education"],"prefix":"10.22501","author":[{"family":"Tone Pernille \u00d8stern","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:01Z","timestamp":1784282281000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2088698\/2088699"}},"issued":{"date-parts":[[2025,6,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2088698","published":{"date-parts":[[2025,6,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:54Z","timestamp":1784283054543,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,16]],"date-time":"2020-12-16T00:00:00Z","timestamp":1608076800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"LIGHTSPEED YOU!<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1043157","type":"posted-content","created":{"date-parts":[[2020,12,16]],"date-time":"2020-12-16T10:26:32Z","timestamp":1608114392000},"source":"Crossref","is-referenced-by-count":0,"title":["eyeballing the moon"],"prefix":"10.22501","author":[{"family":"Edit Thoor","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:27Z","timestamp":1784282427000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1043157\/1043158"}},"issued":{"date-parts":[[2020,12,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1043157","published":{"date-parts":[[2020,12,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:56Z","timestamp":1784369036211,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2021,3,15]],"date-time":"2021-03-15T00:00:00Z","timestamp":1615766400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,3,15]]},"abstract":"Repetition plays a central role in many musical styles and genres. Repetition, rhythm and patterns also play an important part in the visual arts. Here we will show, examine and discuss repetition as a method and main musical element, as well as their correlation with moving images, in a series of audio-visual works we have been working on together since 2016. Accumulator is one such project and will be the main focus here, where not only repetition, rhythm and patterns appear as musical and visual elements, but is used as an artistic method in itself when repeating performances of a similar material, documenting each one of them and adding the individual performances as layers creating a dense audio-visual orchestral solo performance. As well as temporal repetition, Accumulator repeats in the spatial dimension, where the staging of a performance features the live performer multiplied, as he is accompanied by pre-recorded video images of himself. According to the spatial characteristics of the given performance space, this repetition of the performer may be frontal \/ two dimensional, or may extend across several surfaces, creating a surround projection in which the live performer is contained.<\/jats:p>\n keywords: repetition, contemporary music, Experimental music, musical repetition, recording, sound art<\/jats:p>","DOI":"10.22501\/vis.1156843","type":"journal-article","created":{"date-parts":[[2021,3,14]],"date-time":"2021-03-14T19:07:17Z","timestamp":1615748837000},"source":"Crossref","is-referenced-by-count":0,"title":["Reiterate, rerun, repeat"],"prefix":"10.22501","author":[{"family":"Michael Duch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jeremy Welsh","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:13:43Z","timestamp":1784366023000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1156843\/1156844"}},"issued":{"date-parts":[[2021,3,15]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/vis.1156843","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2021,3,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:48Z","timestamp":1784283048709,"version":"3.55.0"},"posted":{"date-parts":[[2023,5,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,5,8]],"date-time":"2023-05-08T00:00:00Z","timestamp":1683504000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A simultaneous role of performer and composer is crucial in a vast number of artistic praxises. In this artistic research project, I explore creative possibilities the performing composer role offers. I also discuss how my performing composer praxis has inspired my interpretation of compositions by others.The project is situated in my own artistic praxis and has an auto-hermeneutical approach. My primary method has been to compose music for myself and to perform it. This has led me to create compositions which are more improvisational, orally conveyed and open to diverse interpretations. I have also performed with a more co-creative, personally engaged and holistically oriented mindset. I have further experimented in performing compositions by others while imagining myself to be the composer. This has offered an alternative interpretative approach that resound deeply with me on an aesthetic level. Finally, I have reflected on how a performing composer discourse can unsettle the hierarchical language of composition and interpretation.The project builds on a broader movement in artistic research and musicology, problematising the apparent dichotomy between composers and performers [Leech-Wilkinson, 2016; Cornish, 2015; Cook, 2013], and investigating the role of the performing composer or composing performer [Spears, 2022; Beaugeais, 2020; Groth, 2017]. The project constitutes my master thesis in performing music at the University of Bergen with specialisation in jazz .<\/jats:p>\n keywords: Performing Composer, Composing-performer, performer as composer, Performer-Composer, composer-performer, composer as performer, improvisation and real-time composition, jazz, double bass, improvisational scores<\/jats:p>","DOI":"10.22501\/rc.1849330","type":"posted-content","created":{"date-parts":[[2023,5,8]],"date-time":"2023-05-08T14:09:28Z","timestamp":1683554968000},"source":"Crossref","is-referenced-by-count":0,"title":["The Performer-Composer: A Practice in Interrelation"],"prefix":"10.22501","author":[{"family":"Thomas Aurlund Lossius","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:32Z","timestamp":1784282372000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1849330\/1849331"}},"issued":{"date-parts":[[2023,5,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1849330","published":{"date-parts":[[2023,5,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030385,"version":"3.55.0"},"posted":{"date-parts":[[2024,9,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T00:00:00Z","timestamp":1727136000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This paper introduces the Human-AI Design approach, a novel framework for addressing complex sustainability challenges through the integration of human expertise and artificial intelligence. The approach leverages social and global entropy concepts to quantify and visualize resource distribution and irreversible processes within social and ecological systems. By combining entropy modeling, participatory processes, and advanced AI techniques, Human-AI Design offers a comprehensive methodology for tackling multifaceted global issues. The paper presents a theoretical framework, outlines the methodology, and demonstrates its application through a case study on global water resource management. The approach's potential is further explored in extended applications across various domains, including education, urban planning, biodiversity conservation, and climate change mitigation. Future scenarios of human-AI coevolution are discussed, highlighting both the immense potential and significant challenges ahead. The Human-AI Design approach represents a promising step towards more effective and integrated solutions to global sustainability challenges, offering new possibilities for understanding and managing complex systems while emphasizing the importance of ethical considerations and adaptive implementation.<\/jats:p>\n keywords: Human-AI Design, Sustainability, Entropy Modeling, Artificial Intelligence, Participatory Processes, Water Resource Management, Coevolution, Complex Systems, Decision Support, Environmental Conservation, Human-AI Design, Sustainability, Entropy Modeling, Artificial Intelligence, Participatory Processes, Water Resource Management, Coevolution, Complex Systems, Decision Support, Environmental Conservation<\/jats:p>","DOI":"10.22501\/rc.3024881","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T08:49:28Z","timestamp":1727167768000},"source":"Crossref","is-referenced-by-count":0,"title":["Human-AI Design Version 0.9.2, 2024-09-24"],"prefix":"10.22501","author":[{"family":"Udo Maria Fon","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:38Z","timestamp":1784282318000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3024881\/3024882"}},"issued":{"date-parts":[[2024,9,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3024881","published":{"date-parts":[[2024,9,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977046,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,21]],"date-time":"2026-02-21T00:00:00Z","timestamp":1771632000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"DescriptionThis essay examines On Kawara's Today Series (1966\u20132014) through the critical framework of Post-Interpretive Criticism, situating the work at the intersection of temporal discipline, sacred repetition, and existential minimalism. Beginning on January 4, 1966, Kawara's decades-long practice of producing hand-lettered date paintings \u2014 each completed within a single day or destroyed at midnight \u2014 is read not as conceptual exercise but as a form of devotional labour. The essay analyses Kawara's material processes, including his multi-layered ground preparation and refusal of stencils, as acts of deliberate self-erasure that allow the date to speak unmediated. Drawing on his extended archival practices \u2014 the I Am Still Alive telegrams, morning postcards, journals, and newspaper-lined boxes \u2014 the essay argues that Kawara's true medium was continuity rather than pigment, and that his studio functioned as a site of containment rather than creation. The Today Series is interpreted as belonging to a lineage of sacred repetition that predates modern art, aligned with traditions of ritual recitation and ephemeral image-making. The essay further proposes the doctrine of the Stillmark \u2014 presence without permanence, endurance without accumulation \u2014 as the organising principle of Kawara's legacy, and reflects on the ethical responsibilities of criticism when faced with work that withholds meaning as an act of fidelity. Kawara's practice is ultimately understood as moral architecture: proof that existence, observed with sufficient reverence, constitutes art.Keywords: On Kawara, Today Series, date painting, conceptual art, temporality, repetition, minimalism, Post-Interpretive Criticism, devotional practice, StillmarkThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Epoch\u00e9 Fidelity Index (EFI), Phenomenological Phase Alignment Score (PPAS), Residue Engagement Restraint Ratio (RERR), Quasi-Subject Agency Recognition Index (QSARI), Dialectical Circulation Index (DCI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Phenomenology, Aesthetic Phenomenology, Phenomenology of Aesthetic, post-hermeneutics phenomenology, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Founder of Post-Interpretive Criticism, Dorian Vale, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Contemporary sacred aesthetics, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4200486","type":"posted-content","created":{"date-parts":[[2026,2,21]],"date-time":"2026-02-21T19:36:00Z","timestamp":1771702560000},"source":"Crossref","is-referenced-by-count":0,"title":["On Kawara \u2013 The Devotion of Days"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:09Z","timestamp":1784282229000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4200486\/4200485"}},"issued":{"date-parts":[[2026,2,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4200486","published":{"date-parts":[[2026,2,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984552,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T00:00:00Z","timestamp":1773878400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Envion is a procedural environment for network-based sonic excavation, anonymisation, and algorithmic rearticulation. Drawing from heterogeneous archives such as the Internet Archive and Freesound, as well as domestic excavation through DeepScan, the system builds a continuously evolving corpus of micro-events and unstable sonic matter. Envion operates across three interconnected levels (excavation, forging, and articulation) combining command-line transformations (FFmpeg, SoX, CDP), Python-based micro-services, distributed queries, and generative engines in Pure Data and Max\/MSP.Rather than extending traditional sampling or synthesis paradigms, Envion proposes an epistemic reorganisation of the compositional gesture: sound is not selected but encountered; not shaped but delegated; not preserved but anonymised and continuously reinscribed. This practice of de-authoring (where retrieved material is stripped of explicit provenance and re-enters the system as unstable, non-identitarian matter) introduces a methodological stance that remains largely unexplored in existing literature. It also exposes a set of implicit ethical tensions around authorship, copyright, and the status of online sound objects, not as external constraints but as conditions internal to the work itself.Situated within lineages such as musique concr\u00e8te, CDP\/Wishart, and early algorithmic systems like Tabula Vigilans, Envion articulates an ecology in which sonic emergence arises from noisy archives, unstable metadata, and procedural chains of transformation. The integration of historically terminal-based tools into GUI-driven environments like Max and Pure Data further extends this methodological horizon, enabling these interfaces to act as operational nodes within a broader ecosystem rather than isolated local tools.Envion thus outlines a methodological framework (rather than a closed toolset) capable of inhabiting multiple computational contexts while preserving a coherent epistemic architecture. It represents an initial benchmark of a larger trajectory, demonstrating the feasibility and scope of a procedural approach to sonic reconfiguration still open to further expansion.<\/jats:p>\n keywords: sonic excavation, algorithmic composition, musique concr\u00e8te, procedural sound, archive.org, gen~, Pure Data, Max\/MSP, artistic research, data-driven composition<\/jats:p>","DOI":"10.22501\/rc.3994963","type":"posted-content","created":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T00:09:23Z","timestamp":1773878963000},"source":"Crossref","is-referenced-by-count":0,"title":["Envion ~ Toward an Epistemic Ecology of Sonic Emergence"],"prefix":"10.22501","author":[{"family":"Emiliano Pennisi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:58Z","timestamp":1784282218000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3994963\/3998127"}},"issued":{"date-parts":[[2026,3,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3994963","published":{"date-parts":[[2026,3,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:38Z","timestamp":1784283038695,"version":"3.55.0"},"posted":{"date-parts":[[2021,4,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,4,16]],"date-time":"2021-04-16T00:00:00Z","timestamp":1618531200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Taiteellisen tutkimukseni kohteena on ollut kehollinen toisin toimiminen julkisissa tiloissa. Olen havainnoinut tanssin ja kosketuksen aiheuttamia muutoksia julkisissa tiloissa sek\u00e4 tilan kokemuksen muovautumista tanssivassa kehossa. Koronaepidemia on vaikuttanut olennaisesti tutkimuskysymyksiini sek\u00e4 k\u00e4ytt\u00e4miini tutkimusmenetelmiin, sill\u00e4 toisten kanssa fyysisesti kosketuksissa oleminen on t\u00e4n\u00e4 vuonna tuntunut \u00e4\u00e4rimm\u00e4isen t\u00e4rke\u00e4lt\u00e4, mutta my\u00f6s radikaalilta teolta.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1188329","type":"posted-content","created":{"date-parts":[[2021,4,16]],"date-time":"2021-04-16T09:26:03Z","timestamp":1618565163000},"source":"Crossref","is-referenced-by-count":0,"title":["Tanssia koronan aikaan"],"prefix":"10.22501","author":[{"family":"Sanni Camilla Giordani","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:15Z","timestamp":1784282415000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1188329\/1188330"}},"issued":{"date-parts":[[2021,4,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1188329","published":{"date-parts":[[2021,4,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:21Z","timestamp":1784286381898,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,7,11]],"date-time":"2022-07-11T00:00:00Z","timestamp":1657497600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"Name: Hannah JefferiesMain Subject: Classical FluteResearch Supervisors: Ines de Avena Braga,Research Question: How can elements and features from psychology and philosophy illustrate what is fundamental to our emotions, in what way can these concepts be represented within and expressed by the flute repertoire, and how can we incorporate and convey these understandings as performers to create music meaningfully and be of beneficence to others? Summary of Results:This research sets out to contrast and evaluate diverse standpoints from psychology and philosophy to discuss firstly how emotions can be defined, whether music creates real emotions in us, and what capacities we possess to be both receptive and conveying of emotion within music. During my discussion, I incorporate examples of excerpts from the flute repertoire, consider the harmonic language used and function of musical structures, and balance this against the resulting emotional response from us. This initial discussion is in support of a questionnaire which I conducted in order to gather results from respondents of their perceived emotional response and valence when presented with differing musical excerpts, both upon an initial and second listening. I aimed to gauge and qualify their reaction to musical traits which have been connected more strongly than others to specific emotional states, and additionally I was interested to find if there was a connection between memory of a piece of music, and emotional valence due to this familiarity. Finally, having demonstrated the emotive strength it is possible for music to hold, I investigate how as artists we can harness and emphasise certain functions of music to create performances which are highly engaging and positively affecting for listeners. Additionally, this research then leads us to an understanding of the impact of integrating the effects of emotion and music, and suggests how this combination can be beneficial and utilised in and for the wider society, namely in the field of music therapy.Biography:I am currently a second year masters student from the UK studying classical flute at the Koninklijk Conservatorium with Jeroen Bron and Dorine Schade, having recently completed my Bachelors degree at the Royal Northern College of Music in Manchester. During my studies I have been very lucky to have had the opportunity to perform as part of ensembles including Asko|Sch\u00f6nberg, New European Ensemble, European Youth Wind Orchestra, and Amadeus Orchestra Academy. Outside of performance, I greatly enjoy being part of outreach and community music; a highlight was working with the Manchester Camerata Orchestra, delivering music therapy to people with Dementia.<\/jats:p>\n keywords: Music in Public Space<\/jats:p>","DOI":"10.22501\/koncon.563626","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:38:13Z","timestamp":1725907093000},"source":"Crossref","is-referenced-by-count":0,"title":["Music, Meaning and Emotion"],"prefix":"10.22501","author":[{"family":"Hannah Jefferies","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:34:51Z","timestamp":1784284491000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/563626\/613140"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.563626","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:40Z","timestamp":1784286520644,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2014,9,5]],"date-time":"2014-09-05T00:00:00Z","timestamp":1409875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Radka Kub\u00ednov\u00e1Main Subject: Traverso Research Coach: Bart van OortTitle of Research: Italian elements in French music for traverso by J.M. Leclair and M.BlavetResearch Question: How did the Italian style influence French music for the traverso between 1699-1750 \u0301?Research Process:My research question arises while studying music by Blavet and Leclair and their contemporaries. Their music includes many Italian elements and in my research I would like to reach a deeper understanding of the stylistic mixture. For that I need to uncover the social circumstances and back ground of the life of these two composers. I have studied French contemporary sources, mostly books written by the end of 17th century and beginning of 18th century describing musical life in France and its main musical personage. The big advantage of studying the contemporary sources in their original language is the possibility of getting the whole picture of the period.Summary of Results:The end of the 17th and the beginning of the 18th century in France was a \u201cgolden age\u201d for traverso marked by an intense interaction between French and Italian style. This interaction is reflected in all aspects of music: composition, forms, instruments and interpretation. The Italian style introduced many new features which were hardly accepted by a conservative society represented by aristocracy and absolutist monarch Louis XIV. Another section of the society, modern and open to anything, new was represented by very controversial and powerful person of Philippe II, Duke of Orl\u00e9ans who was the most important musical patron in France at that time.The best conclusion of the interaction between the two styles is \u201cLes go\u00fbts r\u00e9un\u00efs\u201d by Fran\u00e7ois Couperin. In the preface of the book Couperin explains that the best solution is to take the best elements from each nation and put them together.<\/jats:p>\n keywords: Jeanne Mansfield LeClair, Michel Blavet, French Music, traverso, Fran\u00e7ois Couperin<\/jats:p>","DOI":"10.22501\/koncon.90107","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:49:56Z","timestamp":1725907796000},"source":"Crossref","is-referenced-by-count":0,"title":["Italian elements in French music for traverso by J.M.Laclair and M.Blavet"],"prefix":"10.22501","author":[{"family":"Radka Kubinova","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:58:59Z","timestamp":1784285939000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/90107\/90108"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.90107","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:53Z","timestamp":1784289833443,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T00:00:00Z","timestamp":1558569600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"In collaboration with Wix\u00e1rika teachers and community museum planners we have planned and carried out performance art events in which video footage on pedagogical situations is screened and the teachers explain and practically demonstrate to the audience what happens in the footage \u2013 in Dwight Conquergood\u00b4s words the teachers \"perform their own experience\". They present and contextualize the knowledge we have recorded together with them in a fieldwork situation. It is important that our Wixarika co-performers themselves perform as the experts and teachers of the knowledge both in the live event and in the video footage. They have studied both formally in a university and non-formally as apprentices in the shamanistic institution of rukuri+kate that can be dated back to pre-colonial times. We artists-researchers function as documentarists and translators, often hesitating between different translation options. The significations vary from one language to another, from one translation to another. The translation is performed as a hesitant act, open for different meanings.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.592571","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T07:35:54Z","timestamp":1558596954000},"source":"Crossref","is-referenced-by-count":1,"title":["Indigenous Knowledge, Performance Art and the Faltering Act of Translation"],"prefix":"10.22501","author":[{"family":"Lea Kantonen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Pekka Kantonen","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:15:01Z","timestamp":1784286901000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/592571\/592572"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.592571","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:04Z","timestamp":1784289844858,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2016,10,3]],"date-time":"2016-10-03T00:00:00Z","timestamp":1475452800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,10,3]]},"abstract":"In this exposition, change is perceived as an essential part of the paradigm of immanent capitalism, where the transcending immanence articulates the world of capitalism. In other words, capitalism is a system of exchange and economy, where all arrangements within this system are determined by economic functions, such as exchange or constant flux of matter and meanings articulated by sufficient reason. The capital form of thought - that is to say the philosophy of capitalism - is economic, sufficient and productive. The transcending immanence of capitalism produces the world, the immanence of capitalism is a transcending immanence. This exposition is set to inquire how these forms affect the position of artistic practice. The focus will be on the possible limits of economic and sufficient forms of thought, or what is speculation in this context. In recent discourse on the paradigm of Anthropocene and speculation of nonhuman thought, the distinction between the human and the \u2018world not for humans\u2019, or the world in itself and the experience of the world, have instigated another perspective to regard the immanence of capitalism only as an arrangement or \u2018pseudo-immanence\u2019. However, due to space constraints, this exposition is a mere introduction to the ongoing research of mine subsequent to the examination of my doctoral research on schizoanalysis and artistic research held on January 2016. In short, I ask: how can we speculate on the limits of change from the perspective of artistic research including the different arrangements of nonhuman thought and the immanent capitalism?<\/jats:p>\n keywords: uusmaterialismi, spekulatiivinen materialismi, skitsoanalyysi, performance, new materialism, speculative materialism, schizoanalysis<\/jats:p>","DOI":"10.22501\/ruu.240675","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:12Z","timestamp":1503635052000},"source":"Crossref","is-referenced-by-count":0,"title":["Speculation on change from the posture of performance art practice"],"prefix":"10.22501","author":[{"family":"Tero Nauha","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:18:19Z","timestamp":1784287099000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/240675\/293296"}},"issued":{"date-parts":[[2016,10,3]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/ruu.240675","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2016,10,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:07Z","timestamp":1784289787682,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","license":[{"start":{"date-parts":[[2022,10,25]],"date-time":"2022-10-25T00:00:00Z","timestamp":1666656000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2022,10,25]]},"abstract":"This article is based on the personal work 'mat\u00e9ria dispon\u00edvel\u2019 (2020) by Rosinda Casais and proposes to analyse the importance of communication-driven art in its different stages. This work emerged from the objective to explore the outdoor space as a space to communicate, during the period of the first lock-down (social distancing) due to CoVID-19, from march to june 2020. Crossing this period, she and her 5 years old daughter used the debris that remained in the courtyard of the building, where both live, and started communicating through objects with the neighbours.From the intention to interact with the other, this artwork fulfils itself, broadens and questions the communicative nature of the objects and the artistic practice as well.Concepts, along with the capacity of the objects to change the atmosphere of a place and the common\/individual memories, were developed during this work towards a sense of communication from\/to it and is discussed here.<\/jats:p>\n keywords: common memory, individual memory, atmosphere, imaginary, communication<\/jats:p>","DOI":"10.22501\/ruu.1406576","type":"journal-article","created":{"date-parts":[[2022,10,25]],"date-time":"2022-10-25T09:25:12Z","timestamp":1666689912000},"source":"Crossref","is-referenced-by-count":0,"title":["The communication intent in 'mat\u00e9ria dispon\u00edvel\u2019 (\u2018available matter')"],"prefix":"10.22501","author":[{"family":"rosinda casais","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:17Z","timestamp":1784286377000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1406576\/1406577"}},"issued":{"date-parts":[[2022,10,25]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1406576","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2022,10,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:20Z","timestamp":1784289920050,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2024,3,21]],"date-time":"2024-03-21T00:00:00Z","timestamp":1710979200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2024,3,21]]},"abstract":"What can be considered as a discarded recording in an ethnographic inquiry? Do the instabilities and technical errors show that technology is really part of the encounter of ethnographic situations? Furthermore, is there a limit beyond which a sound that is too degraded can no longer be restored but simply described in writing, the preferred medium of the human sciences in general and anthropology in particular? These three ideas were at the center of an online conversation with Ernst Karel, starting with the film Expedition Content (2020) made with Veronika Kusumaryati from the sound archives of the Harvard-Peabody expedition (1961) in Dutch New Guinea. The many errors and failures that punctuate Rockefeller's recordings \u2013 we also listened to some recordings that did not appear in Expedition Content \u2013 form a fertile ground for thinking about the tactics and listening that can make examining ethnographic rubbish a heuristic, both for the history of the anthropological discipline and for the history of the place where it was recorded.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.1857111","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:24:46Z","timestamp":1733131486000},"source":"Crossref","is-referenced-by-count":0,"title":["A Conversation on Discarded Recordings"],"prefix":"10.22501","author":[{"family":"Heikki Wilenius","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jonathan LARCHER","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ernst Karel","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:31:36Z","timestamp":1784287896000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1857111\/1857112"}},"issued":{"date-parts":[[2024,3,21]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jss.1857111","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2024,3,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981903,"version":"3.55.0"},"posted":{"date-parts":[[2021,3,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,3,31]],"date-time":"2021-03-31T00:00:00Z","timestamp":1617148800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Tree Encounters \u2013 artistic dialogues of human and non-human bodies \/ #Berlin Series \u2013 is the title of an Artistic Research project around the development of special movement forms of the body in suspension. The focus lies on the mutual interdependencies with nature\/ the trees (in the urban sourrounding of this specific Berlin Series). In contrast to traditional movement concepts, especially in the classical aerial acrobatics, where an objectified body has cognitively been forced in 'preplanned' forms \u2013 in this work the Physical-Intuitive, the body-immanent knowledge is assigned more agency and a leading role. The practical artistic research is documented in this exposition mainly by video.<\/jats:p>\n keywords: movement, performance, Choreography, aerial acrobatics, circus, darstellende kunst, art, mind &amp; bodyset, shinrin yoku, somatics, trees, trapeze<\/jats:p>","DOI":"10.22501\/rc.1045723","type":"posted-content","created":{"date-parts":[[2021,3,31]],"date-time":"2021-03-31T10:47:23Z","timestamp":1617187643000},"source":"Crossref","is-referenced-by-count":0,"title":["Tree Encounters \u2013 Berlin Series #takecare"],"prefix":"10.22501","author":[{"family":"Carmen Raffaela K\u00fcster","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:15Z","timestamp":1784282415000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1045723\/1045724\/1122\/124"}},"issued":{"date-parts":[[2021,3,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1045723","published":{"date-parts":[[2021,3,31]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:54Z","timestamp":1784282994706,"version":"3.55.0"},"posted":{"date-parts":[[2022,12,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,12,1]],"date-time":"2022-12-01T00:00:00Z","timestamp":1669852800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"ABSTRACT V.1 - \"THE SEARCH FOR RESONANCE\" - OCTOBER 2018\u00abThe Search for Resonance\u00bb by Per Martinsen, Research Fellow, UiT The Arctic University of Norway, Faculty of Fine ArtsIn my project I want to investigate correspondences between frequency and geometry in order to build an \u201calphabet\u201d that can be used as a platform for creating new musical and audiovisual works.I will use cymatic visualization techniques to look for patterns that stand out in their clarity and geometrical symmetry, and use the frequency data that cause these visual occurrences to create a musical scale that corresponds to these geometrical attributes.I will also map out the geometrical data to build a corresponding library, so that I can experiment with using these data to compose works from a visual viewpoint, and I also want to experiment with live sound in spaces that correspond with the geometrical data from the cymatic works to see how this can be used in a creative context.Having a background in an artistic practice that has focused mainly on very \u201cphysical\u201d use of sound, i.e. rhythmic music usually played at loud amplitudes and with a strong focus on low frequencies, I want to explore how sound interacts with matter in a more profound way, in order to understand my medium better. My aim is to see if I can develop new tools for manipulating matter through the use of sound both in my own artistic practice, but also for my peers within the field and others interested in the subject.BACKGROUNDThe first known significant body of work on cymatic visualization of sound was developed through experiments carried out by Ernst Chladni (1756-1827). The term cymatics was later coined by Hans Jenny (1904-1972), and later Gyo\u0308rgy Kepes of Center for Advanced Visual Studies at MiT carried out some further research into the field, resulting in the development of a new thermodynamic technique using burning gas inside metal tubes as a new form of visualization of sound. Later developments in the field have been conducted by German photographer and researcher Alexander Lauterwasser, who studied the effects of sound on water, and by Ron Rocco, who used sound to manipulate pattern shifts in mercury via the use of lasers. Artists currently working in this field include, New Zealand- born musician Nigel Stanford, who extensively uses visual manifestation of sound in his music and video workABSTRACT REV. II - \u201cTHE SEARCH FOR RESONANCE\u201d - AUGUST 2019\u00a0A recurring dream:\u00a0I find myself inside a concert venue. Sometimes this is an actual venue that I have visited, or played at, sometimes not.To the right side of the stage, there is a backdoor. I enter, and find myself in a corridor leading to an empty room.The room is heated, has no windows, and feels claustrophobic. There is a small, open door in the wall on the left side of the room.Leaning through the door, I see a ladder leading further downwards, to another room underground.\u00a0I climb down the ladder, and find myself in an even smaller, warmer, and more claustrophobic space.There is a small table and two chairs in the middle of this room, and I can sense that someone have just been sitting in one of the chairs.I somehow just sense this, and sometimes there are traces like a recently smoked cigarette lying in an ashtray sat on the table, or crumbs left on the table by someone who just ate their lunch there.At the end of this room, a sound studio is rigged up against the wall. A mixing desk, with a speaker on each side.I walk over to the speakers, and look behind them, as if to find another layer, but find that there is nothing there.\u00a0As I set out last year with my project \u00abThe Search for Resonance\u00bb, I stated that I wanted to \u00abinvestigate correspondences between frequency and geometry in order to build an audiovisual \u201calphabet\u201d that could be used as a platform for creating new musical and audiovisual works\u00bb - a very concrete task of creating a tool for myself and others, based on rather pre-conceived conclusions of what I am about to find.\u00a0Now, after one year of delving into the material, I have realised that what I actually have set out to look for rather could be rephrased \u00abThe essence of Sound?\u00bb, or \u00abHow (and why) does sound manifest in the physical universe?\u00bb, or even \u00abWhat am I doing here?\u00bb\u00a0This realisation has moved my focus from investigating the laws of physics governing the behaviour of soundwaves into far more fundamental existential questions of philosophy and purely metaphysical territories.\u00a0\u00a0It has also moved my perspective away from that of an non-academic self-taught artist glancing into the workings of current day scientific paradigms of \u201chard science\u201d, back to far more personal and highly subjective experience-based areas of investigation, areas that I, like any sentient being who have ever questioned their conscious existence in this world, am as much an expert (or a fool) as anyone else.\u00a0This return to the world of pure artistic subjectivity I find both liberating and challenging, as the confusing (and somehow unclear) concept of artistic research being both academic and non-academic in its approach made me feel unable to move forward and do what I do best: the work of an independent artist.\u00a0All this leaves me more open-ended than when I started out, although I intuitively seem to stick to my habitual ways of working, which is to seek out to constantly develop my methods and aesthetics when it comes to work with sound, music and other channels of expression, update myself on news within the world of physics and other hard sciences, and keep on investigating the vast material available on metaphysical philosophies.\u00a0The only question that arises is: In what way, if any, does this concern anyone other than myself?ABSTRACT REV. III - \u201cTHE SEARCH FOR RESONANCE\u201d - OCTOBER 2020When I set out working with my project, I stated that I wanted to \u00abinvestigate correspondences between frequency and geometry in order to build an audiovisual \u201calphabet\u201d that could be used as a platform for creating new musical and audiovisual works\u00bb.How scientific of me.Now, halfway into the project, I have learned that these kind of pre-conceived conclusions of what I am about to find, and how I can apply it to my work, is as far from artistic research as you can get.But it\u2019s not that far from how I\u2019ve always worked, to be honest.Things always seem to just emerge, the moment you start working.What emerged about a year into my project, was an expanded understanding of the word \u201cResonance\u201d, especially in relation to artistic processes.Questions like: \u201cHow to create resonance?\u201d, \u201cWho does it resonate with?\u201d or \u201cWho creates the resonance?\u201d, became more important than an artist only looking at the physical resonating qualities of sound.Not that the physical resonating qualities of sound are not included in the project anymore.They\u2019ve just been given their own space.Investigated through the eyes and experiences of another me.One investigator turned out to be far from enough.So I have tried to split myself, as through a prism.Into three primary colours.To maintain three different perspectives.This way of projecting different self-images has made me able to look at the subject matter through new lenses - some more familiar than others. But all refreshing in their fictitious freedom.Getting others to do the hard work is always a smart workaround.So now I mostly write, and let the characters make their music through me.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1716235","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T12:04:18Z","timestamp":1725537858000},"source":"Crossref","is-referenced-by-count":0,"title":["The Search for Resonance"],"prefix":"10.22501","author":[{"family":"Per Martinsen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:42Z","timestamp":1784282382000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1716235\/1716236"}},"issued":{"date-parts":[[2022,12,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1716235","published":{"date-parts":[[2022,12,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026465,"version":"3.55.0"},"posted":{"date-parts":[[2025,2,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,25]],"date-time":"2025-02-25T00:00:00Z","timestamp":1740441600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Intellectual landscape in mathematics, quantum mechanics and physics, philosophy of science, and other fields. Henri Poincar\u00e9's mathematical insights and Albert Einstein's seminal thought experiments opened the door to understanding the most fundamental aspects of physical reality, from the subatomic realm of particles and fields to the largest galactic superclusters and the origin of the universe itself. The pioneering work of Poincar\u00e9 and Einstein in the early 20th century fundamentally changed our understanding of the universe, calling into question long-held ideas about space, time, and the very core of reality. Epicurus\u2019 groundbreaking reflection in these fields influence the fields of applied mathematics today, profoundly shaping the scientific understanding of the solid forms that make up the universe.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3442869","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:08:32Z","timestamp":1740722912000},"source":"Crossref","is-referenced-by-count":0,"title":["A Note on Early Quantum Mechanics"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:20Z","timestamp":1784282300000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3442869\/3442868"}},"issued":{"date-parts":[[2025,2,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3442869","published":{"date-parts":[[2025,2,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:54:47Z","timestamp":1781538887959,"version":"3.54.5"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0093","type":"journal-article","created":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:02:57Z","timestamp":1781535777000},"source":"Crossref","is-referenced-by-count":0,"title":["4 PREGUNTAS: \"Un circuito no es solo un objeto t\u00e9cnico sino un ensamblaje de minerales extra\u00eddos de la Cordillera de los Andes, en el que se visibiliza la cicatriz minera.\""],"prefix":"10.22501","author":[{"given":"Constanza","family":"Pi\u00f1a","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","published-online":{"date-parts":[[2026,6,15]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:02:57Z","timestamp":1781535777000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/4-preguntas-un-circuito-no-es-solo-un-objeto-tecnico-sino-un-ensamblaje-de-minerales-extraidos-de"}},"issued":{"date-parts":[[2026,6,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0093","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2026,6,15]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:34Z","timestamp":1784369014493,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2023,4,13]],"date-time":"2023-04-13T00:00:00Z","timestamp":1681344000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2023,4,13]]},"abstract":"In this exposition, I expand the notions and practices of collective body-action intervention (dance, performance, happenings, etc.) as a method to strengthen embodied knowledge, an instigation to engage in restorative encounters, and an invitation to intervene and disrupt political biases of (public) spaces. These methodologies propose alternatives for knowledge exchange\/production beyond hegemonic, Eurocentric education.In parallel, I reflect on my own practice and the anti-patriarchal and decolonial feminist political basis of the collectives of which I am part. We work with strategies and methodologies inspired by feminisms from the Global South, such as taking care of others as a practice that puts aside the patriarchal capitalist model of life that mainly separates, individualizes, prioritizes, and promotes competition and exploitation. We promote exchange, cooperation, and interdependence. I reflect on how these encounters summon the festive memory of our territories and the resilience of our* wounds.Emotions of the bodies and the resistances will trigger our rituals in Abya Yala**, the flows and drifts will make this poetic-affective encounter, as will the skin itself.___*We: Here I refer to collectivity in a broad sense in each case: We as the collectives I am part of, we as women (cis, trans, nonbinary), we as immigrants, we as bipoc, etc**Abya Yala: Self-determined name for the territories in the global south named \"America\" as a result of the colonizing process.<\/jats:p>\n keywords: public space, decolonizing, ritual, dance, celebration, mourning, collectivity, decolonial feminisms, Antiracism, women artists, global south, abya yala, memory politics, taking spaces, landback<\/jats:p>","DOI":"10.22501\/vis.1670383","type":"journal-article","created":{"date-parts":[[2023,3,14]],"date-time":"2023-03-14T07:37:18Z","timestamp":1678779438000},"source":"Crossref","is-referenced-by-count":0,"title":["Poner el cuerpo \u2013 Making spaces public"],"prefix":"10.22501","author":[{"family":"Rossanaconda","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:10:27Z","timestamp":1784365827000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1670383\/1670384"}},"issued":{"date-parts":[[2023,4,13]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/vis.1670383","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2023,4,13]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:51Z","timestamp":1784368971859,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2019,11,6]],"date-time":"2019-11-06T00:00:00Z","timestamp":1572998400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,6]]},"abstract":"Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me \u2013 being both a composer and writer \u2013 to make something where I wrote both text and music. Interestingly, I hadn\u2019t really thought of that before, writing text to my own music \u2013 or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music \u2013 or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music\/text? A second questions follows en suite, and that is what challenges the conflation of different roles \u2013 the writer and the composer \u2013 presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.481274","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T08:10:06Z","timestamp":1618301406000},"source":"Crossref","is-referenced-by-count":0,"title":["Intimate Relations"],"prefix":"10.22501","author":[{"family":"Eivind Buene","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:04:50Z","timestamp":1784365490000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/481274\/481275"}},"issued":{"date-parts":[[2019,11,6]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.481274","published":{"date-parts":[[2019,11,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981906,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time. Individual micro-curated expositions are linked together for www.covidglossary.net in order to generate non-linear readings of the pandemic.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1271078","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T03:23:08Z","timestamp":1622690588000},"source":"Crossref","is-referenced-by-count":0,"title":["REFLECTIONS- SOCIETY"],"prefix":"10.22501","author":[{"family":"moomal shekhawat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Vastavikta Bhagat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:08Z","timestamp":1784282408000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1271078\/1271079"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1271078","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001229,"version":"3.55.0"},"posted":{"date-parts":[[2025,7,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,7,7]],"date-time":"2025-07-07T00:00:00Z","timestamp":1751846400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exegesis discusses staging sexual violence from the post victim perspective within the context of contemporary dance and artistic research. It addresses the topic with feministic and autoethnographic approaches as a means to expand narrow victim narratives and proposes more complex and nuanced artistic language. This research highlights the need for ethical frameworks in dance and calls for new methodologies to support such work.Fontys & Codarts, Master Choreography COMMA, Master Arts, Cohort 4: 2023-2025<\/jats:p>\n keywords: sexual violence, dance, stage, feminism, Victimhood, rape<\/jats:p>","DOI":"10.22501\/rc.3561455","type":"posted-content","created":{"date-parts":[[2025,7,7]],"date-time":"2025-07-07T09:52:29Z","timestamp":1751881949000},"source":"Crossref","is-referenced-by-count":0,"title":["How to stage sexual violence from a post victim perspective?"],"prefix":"10.22501","author":[{"family":"Tuulia Soininen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:01Z","timestamp":1784282281000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3561455\/3561456"}},"issued":{"date-parts":[[2025,7,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3561455","published":{"date-parts":[[2025,7,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:20Z","timestamp":1784282960950,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T00:00:00Z","timestamp":1772236800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"ASSET ARREST is a research project and podcast series that infiltrates and disseminates the exclusive spaces of financialized housing. ASSET ARREST seeks to expose the spatial politics of urban real estate as shaped by speculative investment, gentrification, and the increasing abstraction of housing from use-value to asset-value. In each episode of the podcast, Laura invites a guest to view a property with her, with them both posing as potential buyers. The project functions both as an investigative tool and as a mode of counter-publicity, deploying strategies that \"make public\" what is structurally hidden. Central to this practice is the production of alternative representations of these sites\u2014images rendered not through the idealized CGI marketing tropes that dominate real estate promotion, but through unscripted conversation and embodied performance.In posing as a prospective buyer, I enact a form of role-play that becomes both method and critique. This performative access enables a rupture in the polished fa\u00e7ade of luxury developments, allowing for the insertion of critical discourse into spaces otherwise closed to scrutiny. ASSET ARREST mobilizes a feminist methodology\u2014one that resists objectivity, embraces relationality, and insists on the political significance of lived experience. The project is understood as an act of spatial disobedience: reclaiming the tools of surveillance, storytelling, and spectacle not to reproduce power, but to subvert and redistribute it.<\/jats:p>\n keywords: real estate, urban space, spatial politics, regeneration, creative city, artistic intervention, performance, site-specific, art, feminist spatial practice, critical spatial practice<\/jats:p>","DOI":"10.22501\/rc.4217140","type":"posted-content","created":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T04:23:52Z","timestamp":1772252632000},"source":"Crossref","is-referenced-by-count":0,"title":["ASSET ARREST"],"prefix":"10.22501","author":[{"family":"Laura Yuile","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:06Z","timestamp":1784282226000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4217140\/4217139"}},"issued":{"date-parts":[[2026,2,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4217140","published":{"date-parts":[[2026,2,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:08Z","timestamp":1784286188630,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T00:00:00Z","timestamp":1666915200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,10,28]]},"abstract":"During the COVID-19 pandemic that started in 2020, galleries, theatres, and performance venues closed in accordance with social distancing, lockdown, and confinement policies. Art practice, and in particular performance art, faced an existential crisis: adapt its form or cease to exist for audiences. To adapt, performance art adopted video on the internet as a means through which to perform posing immense challenges to its understanding of performance, liveness, and what is considered physical or \u2018real\u2019. As a response, I started to create a body of work employing the methodology of practice as research (PaR) during periods of confinement of the pandemic. Titled A Haunting of Haunts (2020\u2013ongoing), the practice is designed to be situated within networks and is therefore classified as networked performance. The practice aims to enable artists to create performance under conditions of social distancing, lockdown, and confinement, to explore the idea of transposing performance from \u2018real\u2019 spaces to \u2018virtual\u2019 spaces, and to critique video as the dominant and largely accepted visual form employed in networked performance. This exposition proposes that while A Haunting of Haunts facilitates practice and assists in the development of a visual language specific to networks that consists of what are termed as networked images, thereby contributing to networked performance as a field of practice, it also highlights the hauntological condition of such a practice.<\/jats:p>\n keywords: networked performance, pandemic, social distancing, confinement, liveness, video, virtual, real, networked image, hauntology, hybridized spaces<\/jats:p>","DOI":"10.22501\/jar.1160707","type":"journal-article","created":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T05:47:47Z","timestamp":1666936067000},"source":"Crossref","is-referenced-by-count":0,"title":["Pandemic performance: A Haunting of Haunts"],"prefix":"10.22501","author":[{"family":"Garrett Lynch IRL","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:03:45Z","timestamp":1784282625000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1160707\/1160708"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jar.1160707","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:02Z","timestamp":1784283002362,"version":"3.55.0"},"posted":{"date-parts":[[2021,7,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,7,13]],"date-time":"2021-07-13T00:00:00Z","timestamp":1626134400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition explores the question of creative justice in creative processes and pedagogy. Through an evolving conversation on a chat app, a mentor shares her creative process of a painting that she is emerging with her students at the Masters level. And interwoven through these, they evolve a pedagogy of artistic research, decolonization, reflective inquiry into self, aesthetic encounters with their own cultures, Indian aesthetics and philosophies, meandering and pondering together. The exposition is constructed in four parts. Part 1:Utopia and the politics of creative justice. Part 2: The Conversations through chats. Part 3 - Student responses and reflections. Part 4: Part 4: Teaching as philosophy of a way of being. The mentor journeys through over twenty five years of her practice, inviting her students to participate, question, reflect and ponder with her, offering a creative pedagogy for artistic research that is also bound in the politics of creative justice.<\/jats:p>\n keywords: Creative Justice, Utopia, pedagogy, creative process sharing, eco-art, chat, philosophy of being, porosity, New Pedagogies during Pandemic<\/jats:p>","DOI":"10.22501\/rc.1168665","type":"posted-content","created":{"date-parts":[[2021,9,28]],"date-time":"2021-09-28T21:07:06Z","timestamp":1632863226000},"source":"Crossref","is-referenced-by-count":0,"title":["The politics of creative justice: Conversations on creative processes"],"prefix":"10.22501","author":[{"family":"Srivi Kalyan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:03Z","timestamp":1784282403000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1168665\/1168666"}},"issued":{"date-parts":[[2021,7,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1168665","published":{"date-parts":[[2021,7,13]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:43Z","timestamp":1784283043616,"version":"3.55.0"},"posted":{"date-parts":[[2018,10,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2018,10,18]],"date-time":"2018-10-18T00:00:00Z","timestamp":1539820800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Sound examples for Improvising Touch<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.520714","type":"posted-content","created":{"date-parts":[[2018,10,18]],"date-time":"2018-10-18T04:13:32Z","timestamp":1539836012000},"source":"Crossref","is-referenced-by-count":0,"title":["Improvising Touch"],"prefix":"10.22501","author":[{"family":"Vincent Meelberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:50Z","timestamp":1784282450000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/520714\/520715"}},"issued":{"date-parts":[[2018,10,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.520714","published":{"date-parts":[[2018,10,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:54Z","timestamp":1784282994697,"version":"3.55.0"},"posted":{"date-parts":[[2023,4,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,26]],"date-time":"2023-04-26T00:00:00Z","timestamp":1682467200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"aaaaaaaaaaaaaaaaa<\/jats:p>\n keywords: art<\/jats:p>","DOI":"10.22501\/rc.2101633","type":"posted-content","created":{"date-parts":[[2023,4,26]],"date-time":"2023-04-26T08:25:31Z","timestamp":1682497531000},"source":"Crossref","is-referenced-by-count":1,"title":["aaaa"],"prefix":"10.22501","author":[{"family":"a","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:35Z","timestamp":1784282375000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2101633\/2101634"}},"issued":{"date-parts":[[2023,4,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2101633","published":{"date-parts":[[2023,4,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001165,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"34","license":[{"start":{"date-parts":[[2024,12,28]],"date-time":"2024-12-28T00:00:00Z","timestamp":1735344000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,12,28]]},"abstract":"This exposition reports and assesses the experience of the project \u2018The Creative Potential of Evolving Constraints in Peer-to-Peer Reciprocal Coaching: A Three-way Investigation\u2019 (hereafter 3WI), funded by the Interacting Minds Centre, Aarhus University. 3WI was designed to gauge the utility of evolving creativity constraints \u2014 that is, deliberately adopted restrictions (whether self-imposed or suggested by another) to choices in a given creative project \u2014 in the development of projects by the three participants: a dance artist and filmmaker, a songwriter, and an academic video-essayist.The format of 3WI was as follows. At monthly meetings from September to December 2021, each participant presented work in progress and exchanged feedback with the other two participants. Each meeting culminated in the setting of tasks and constraints designed to guide the development of individual projects over the subsequent month. After an introduction to the format and aims of 3WI, the exposition begins with a description of 3WI\u2019s procedural and theoretical coordinates: the Critical Response Process, a formalised protocol for eliciting feedback on creative projects developed by choreographer Liz Lerman; The Five Obstructions (Lars Von Trier and J\u00f8rgen Leth, 2003), a film which models the provision of creativity constraints; and theory and scholarship concerning the utility of creativity constraints. The exposition continues with a description of the projects being developed by each participant (a dance performance and dance film; two songs; two sections of an academic videoessay), and an individual and illustrated account of the feedback meetings and development of those projects over the course of 3WI. These accounts are followed by a discussion reflecting on setting and receiving constraints, and an assessment of the experience of the project. We conclude with some contemplation of the ethics of constraint-setting and the lessons of the 3WI experience for other makers.Constraint-based procedures are commonly employed and recognised as generative in artistic and design contexts, and they are also used in experimental academic work. 3WI was an attempt to test the utility of constraint-setting as a form of formative peer-to-peer feedback in the development of real creative projects. This exposition will be of interest to artists and academics interested in deploying creativity constraints for the development of creative and creative-critical projects. It will be particularly relevant for those who work in collaborative and interdisciplinary contexts.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&amp;file=3307182\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: Creativity Constraints, Liz Lerman Critical Response Process, contemporary dance, dance film, video essay, songwriting, videographic criticism<\/jats:p>","DOI":"10.22501\/jar.2226731","type":"journal-article","created":{"date-parts":[[2024,12,27]],"date-time":"2024-12-27T11:08:06Z","timestamp":1735297686000},"source":"Crossref","is-referenced-by-count":0,"title":["The Creative Potential of Evolving Constraints in Peer-to-Peer Reciprocal Coaching: A Three-way Investigation"],"prefix":"10.22501","author":[{"family":"Marie Hallager Andersen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Martin H\u00f8ybye","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Alan O'Leary","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:00Z","timestamp":1784282280000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2226731\/2226732"}},"issued":{"date-parts":[[2024,12,28]]},"references-count":0,"journal-issue":{"issue":"34"},"URL":"https:\/\/doi.org\/10.22501\/jar.2226731","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2024,12,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950965,"version":"3.55.0"},"posted":{"date-parts":[[2025,2,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,23]],"date-time":"2025-02-23T00:00:00Z","timestamp":1740268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Denne siden inneholder fotodokumentasjon av kunstnerisk resultat i form av leirevandringer og utstilling p\u00e5 ROM for kunst og arkitektur samt den fysiske delen av refleksjonen p\u00e5 biblioteket p\u00e5 Kunsth\u00f8gskolen i Oslo. Det er ogs\u00e5 lyddokumentasjon av to leirevandringer.\/This page contains photo documentation of the artistic result, including clay wanderings, the exhibition at ROM for Art and Architecture, and the physical reflection shelf at the library of the Oslo National Academy of the Arts. There is also audio documentation of two clay wanderings.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, dokumentasjon, documentation<\/jats:p>","DOI":"10.22501\/rc.3112550","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:09:22Z","timestamp":1740722962000},"source":"Crossref","is-referenced-by-count":0,"title":["Dokumentasjon av kunstnerisk resultat og refleksjonshylla \/ Documentation of the artistic result and the reflection shelf"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:22Z","timestamp":1784282302000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3112550\/3112430"}},"issued":{"date-parts":[[2025,2,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3112550","published":{"date-parts":[[2025,2,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:43Z","timestamp":1784286463925,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T00:00:00Z","timestamp":1623024000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,6,7]]},"abstract":"The interest for the contemporary repertoire, combined with the interest never abandoned for the Electric Bass Guitar, pushed me to investigate the role of this instrument in the contemporary repertoire, observing that only at chamber music level It has found its own dimension, however totally absent in the soloist field. Can the electric bass guitar rise to the role of solo instrument in contemporary music? How can it find its way to be considered as a solo instrument in contemporary music? Can composers approach this instrument exalting its expressiveness and technical potential? The research is divided into two parts: The first part concerns the history of the instrument, its construction and its impact on musical culture. In this part we will also analyse some pieces of the contemporary repertoire, analysis accompanied by video demonstrations of some excerpts that I perform personally. The second part is the fulcrum of the research: the execution of a piece for electric bass and electronics, \"L' Autodidatta\" by Maurizio Tedde. It will highlight the collaboration between the performer and the composer, the vision of the composer and the role of the electric bass in the piece, demonstrating that Bass and the electric bassist can have their own dimension in the soloist field.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/koncon.1050350","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:09Z","timestamp":1725907209000},"source":"Crossref","is-referenced-by-count":0,"title":["The Bass Guitar in the Contemporary Music"],"prefix":"10.22501","author":[{"family":"Andrea Dettori","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:39:46Z","timestamp":1784284786000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1050350\/1050351"}},"issued":{"date-parts":[[2021,6,7]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1050350","published":{"date-parts":[[2021,6,7]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:45Z","timestamp":1784369085950,"version":"3.55.0"},"posted":{"date-parts":[[2023,4,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,24]],"date-time":"2023-04-24T00:00:00Z","timestamp":1682294400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition involves the adaptation of the psychoanalyst Jacques Lacan's logical square, to convey an idea of artistic research practice considered from the perspective of the human subject's position in its midst. As part of the discussion the author has used some evidence of a previous lecture presentation, integrating such material with that of a newer project concerning the visualization of a nightmare image of a phantom in a portal. The tools of the research are a hybrid form of writing that embroils fictional and academic modes as a language-based practice, and visual artistic practice. The author takes Lacan's idea of the confounding of any logical argument by automatic obfuscation of it by unconscious process, and imagines that he has an other to him as a subjective second voice. The question of voices is central to the research; the suggestion that one does speak to oneself in various ways simultaneously that may be fashioned as distinct and separate. It is argued that the research aspect of artistic practice involves just a section of Lacan's logical square, particularly concerning contingency. This orientation may call to question one's tendency to reason and find meaning from the necessary locus of inquiry from the vantage-point of the language-based Symbolic \u2013 of Lacan's three psychic structuring registers Imaginary, Symbolic, Real. The element of fiction provides a literary inclination whereby, while the artistic research speaks about itself as research and references a visual practice, the exposition could also be considered a language-based practice in its own right.<\/jats:p>\n keywords: artistic research practice, language, visualization, drawing, hybrid writing, fiction, subject, unconscious, lacan, autofiction<\/jats:p>","DOI":"10.22501\/i2ads.2048802","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:09:20Z","timestamp":1727179760000},"source":"Crossref","is-referenced-by-count":0,"title":["Seminar \u2013 Of Artistic Research: considered through hybrid writing and visual practice"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:37Z","timestamp":1784366437000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2048802\/2048803"}},"issued":{"date-parts":[[2023,4,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.2048802","published":{"date-parts":[[2023,4,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:14Z","timestamp":1784290034251,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2017,7,3]],"date-time":"2017-07-03T00:00:00Z","timestamp":1499040000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,7,3]]},"abstract":"This article argues for a new critical perspective called \u201cPost-Natural Sound Arts\u201d (PNSA). Its focus resides within the context of environmental sound arts and disciplines such as field recording, acoustic ecology and soundscape studies. PNSA questions entanglements of power and agency between recordists and their subjects and produces new epistemological consequences in relation to silence, subjectivity and technology. By discussing historical and contemporary audio documents, the author demonstrates how sonic representations are part of an interlacing of geographies, media, and time. These recordings harbor trace evidence of anthropogenic incursion and are re-heard in order to question a history of non-impact within the practice of environmental sound arts. PNSA therefore aims to function as both an audial-analytical methodology and instigator for artistic praxis.<\/jats:p>\n keywords: Post-Natural Sound Arts, Silence, Ecology, Technology, Subjectivity, technology<\/jats:p>","DOI":"10.22501\/jss.292319","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:04Z","timestamp":1733131624000},"source":"Crossref","is-referenced-by-count":0,"title":["Post-Natural Sound Arts"],"prefix":"10.22501","author":[{"family":"Mark Peter Wright","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:47:24Z","timestamp":1784288844000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/292319\/292320\/41\/593"}},"issued":{"date-parts":[[2017,7,3]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jss.292319","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2017,7,3]]}},{"indexed":{"date-parts":[[2026,8,28]],"date-time":"2026-08-28T03:23:00Z","timestamp":1787887380303,"version":"build-2784847793"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"31","license":[{"start":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T00:00:00Z","timestamp":1703116800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,12,21]]},"abstract":"This exposition documents artistic research that engages with generative neural networks and artificial intelligence-driven visual synthesis, the goal being to challenge the limits of the research and question the value of the generated visual outcomes. We present here our experiment with a customised StyleGAN model. In contrast to its utilisation by computer scientists, it has been trained on a heterogeneous dataset, voluntarily exposing the generative neural network to failure while focusing on the unexpected moments of surprise that arise from such a process. Led by the critical thoughts of The Nooscope Manifested (Pasquinelli and Joler 2020), this experiment questions what kind of knowledge generative neural networks produce, whether they could change one\u2019s perspective on studied objects (the dataset) and whether they could function as a viable tool for artistic research. The observed object in this project is the concept of \u2018troubling times\u2019 (inspired by \u2018Designing in Troubling Times\u2019, the theme of the 2021 Uroboros Festival) \u2014 rapid socio-ecological changes caused by shifts in global economic, political and technological power and the subsequent series of troubling events, including the COVID-19 pandemic, violent conflicts and environmental catastrophes. StyleGAN is used as a pattern-recognition and knowledge-production tool to create an intuitive understanding of what this ambiguous term \u2018troubling times\u2019 actually means today. During the experimentation process, multiple unforeseen moments and twists happened, offering valuable insights into the nature of synthetic media, generating ethical questions concerning the use of generative neural networks and spawning new propositions for further research.<\/jats:p>\n keywords: neural network, styleGAN, synthetic media, photojournalism, troubling times, generative neural networks, GANs, visual ambiguity<\/jats:p>","DOI":"10.22501\/jar.1486468","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T12:02:06Z","timestamp":1703160126000},"source":"Crossref","is-referenced-by-count":2,"title":["TroublingGAN: generated visual ambiguity as a speculative alternative to photojournalism"],"prefix":"10.22501","author":[{"family":"Lenka Hamosova","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Pavol Rusn\u00e1k","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:48Z","timestamp":1784282388000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1486468\/1586300"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"journal-issue":{"issue":"31"},"URL":"https:\/\/doi.org\/10.22501\/jar.1486468","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2026,9,10]],"date-time":"2026-09-10T22:35:12Z","timestamp":1789079712460,"version":"build-2803163510"},"posted":{"date-parts":[[2012,2,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2012,2,12]],"date-time":"2012-02-12T00:00:00Z","timestamp":1329004800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Art and science are not separate domains, but rather two dimensions in the common cultural space. This means, research is not then or only artistic, if carried out by artists, but deserves the attribute artistic, where, when and by whom whatsoever been made to a specific quality: the mode of artistic experience. Artistic experience is itself a form of reflection. And furthermore, whether implicit or explicit, artistic knowledge is embodied knowledge. The knowledge that artistic research strives for is a felt knowledge.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.15292","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:50Z","timestamp":1498053350000},"source":"Crossref","is-referenced-by-count":2,"title":["What is Artistic Research?"],"prefix":"10.22501","author":[{"family":"Julian Klein","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:11Z","timestamp":1784282471000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/15292\/15293"}},"issued":{"date-parts":[[2012,2,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.15292","published":{"date-parts":[[2012,2,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:22Z","timestamp":1784369062938,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,1,24]],"date-time":"2019-01-24T00:00:00Z","timestamp":1548288000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2019,1,24]]},"abstract":"The goal of this exposition is to investigate the particular qualities of painting and mountain climbing. Do they have their own aesthetics, their own processes and patterns of movement, their own environmental structures and psychology \u2013 and do they share some of these characteristics? The texts and pictures in this exposition, four essays all together, deal with the potential of mountain climbing and painting to map out space, quietude, euphoria, fear, skill, autonomy, instrumentality and movement in an expanded field.<\/jats:p>\n keywords: videoart, mapping, Skill, deskilling, fall, space, movement, autonomy, instrumentally, abstract painting, mountain climbing, KMD_FineArt, KMD_Art<\/jats:p>","DOI":"10.22501\/vis.503150","type":"journal-article","created":{"date-parts":[[2019,12,14]],"date-time":"2019-12-14T12:08:24Z","timestamp":1576325304000},"source":"Crossref","is-referenced-by-count":0,"title":["Tracing gravity"],"prefix":"10.22501","author":[{"family":"Geir Harald Samuelsen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:17:27Z","timestamp":1784366247000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/503150\/503151"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/vis.503150","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2019,1,24]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:39Z","timestamp":1784368959370,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2019,11,7]],"date-time":"2019-11-07T00:00:00Z","timestamp":1573084800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,7]]},"abstract":"This article explores the rationale behind a performance given by the authors at the Unfolding the Process symposium held in Oslo in November 2015. For this occasion, the authors devised a new version of Bach\u2019s Goldberg Variations that builds upon Emmerson\u2019s arrangement of the work for two pianos in 2012. A shortened version of the work (c.30 minutes) was designed that aimed nonetheless to maintain the original work\u2019s sense of structural balance and coherence. This version involved the transposition of a number of variations into different keys to explore the possibility of adding a satisfying tonal structure to our experience of the work, in a context where both performers see potential communicative value in 'playing with' dimensions of original masterworks with a view to giving fresh perspective to the listener experience. The article is written from the alternating perspectives of the authors; one of which is primarily concerned with the rationale and process of devising the arrangement while the other reflects upon the performative aspects and implications arising from it.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.530427","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T07:53:40Z","timestamp":1618300420000},"source":"Crossref","is-referenced-by-count":0,"title":["Modulations through time"],"prefix":"10.22501","author":[{"family":"Stephen Emmerson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Bernard Lanskey","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:04:00Z","timestamp":1784365440000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/530427\/530428"}},"issued":{"date-parts":[[2019,11,7]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.530427","published":{"date-parts":[[2019,11,7]]}},{"indexed":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T15:53:22Z","timestamp":1759334002352,"version":"build-2065373602"},"posted":{"date-parts":[[2025,9,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,30]],"date-time":"2025-09-30T00:00:00Z","timestamp":1759190400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition explores how performance-based artistic research can expose the constructedness of gender identity by placing the body in tension with resistant materials and wearable prosthetics. Working with spray foam insulation as both sculptural surface and choreographic partner, I investigated how its artificiality, rigidity, and eventual fracture could function as metaphors for the instability of normative embodiment. What began as a struggle to inhabit a rigid foam body evolved into experiments with prosthetic extensions, where the material was reimagined as a collaborator that displaced gestures, layered images, and generated hybrid presences. Drawing on Judith Butler\u2019s theory of performativity, drag performance practices, H\u00e9lio Oiticica\u2019s parangol\u00e9s, and Rebecca Horn\u2019s prosthetic sculptures, the research stages a dialogue between body, material, and viewer. Documentation through video and photography further expanded the work, creating layered choreographies where prosthetics multiplied into digital traces. In this process, the foam bodies became what Lauren Elkin calls \u201cart monsters\u201d: excessive, disruptive forms that refuse coherence, insisting instead on incompleteness, transformation, and the possibility of imagining bodies otherwise.<\/jats:p>\n keywords: Performance art, Body as Artifact, Gender Performativity, Friction (Gesture\/Material), Wearable sculpture, Foam bodies, Prosthesis, Monster art, Embodiment<\/jats:p>","DOI":"10.22501\/rc.3893354","type":"posted-content","created":{"date-parts":[[2025,9,30]],"date-time":"2025-09-30T06:10:59Z","timestamp":1759212659000},"source":"Crossref","is-referenced-by-count":0,"title":["It\u2019s Natural (and Other Frictions)"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0000-2631-7266","authenticated-orcid":false,"family":"Cecilia Carvalhal Braga de Andrade","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,9,30]],"date-time":"2025-09-30T06:10:59Z","timestamp":1759212659000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3893354\/3893355"}},"issued":{"date-parts":[[2025,9,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3893354","published":{"date-parts":[[2025,9,30]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:09Z","timestamp":1742294409770,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0077","type":"journal-article","created":{"date-parts":[[2024,12,29]],"date-time":"2024-12-29T18:02:08Z","timestamp":1735495328000},"source":"Crossref","is-referenced-by-count":0,"title":["Comentarios al II Congreso Latinoamericano de Pr\u00e1ctica Art\u00edstica como Investigaci\u00f3n (Santiago de Chile, 2024)"],"prefix":"10.22501","author":[{"given":"Carolina","family":"Benavente Morales","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024,12,29]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:47Z","timestamp":1742292227000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/comentarios-al-ii-congreso-latinoamericano-de-practica-artistica-como-investigacion-santiago-de"}},"issued":{"date-parts":[[2024,12,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0077","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024,12,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:43Z","timestamp":1784286223957,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2020,10,28]],"date-time":"2020-10-28T00:00:00Z","timestamp":1603843200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,28]]},"abstract":"\u201cWalking with Soldiers\u201d examines an auto-ethnographic moment of marching across the city of Helsinki with first-year cadets of the Finnish National Defence University. In a reparative reading, the walk dismantles boundaries of bodies, critiques, and affects. Through a walking methodology and autoethnography, the present exposition demonstrates how the author began orienteering within military structures through an affective investment. The exposition is a researcher\u2019s journey across subjectivities and difference in a female civilian body. Epistemologically, it brings theory closer to the skin; and empirically, it offers insight into the affective world of belonging. \u201cWalking with Soldiers\u201d is multimodal and polyphonic: it consists of a text for reading, three audio tracks for listening and co-walking, as well as illustrations created by Julia J\u00e4rvel\u00e4 based on photographs taken by the author. The provided materials can be selectively attended to. The artistic technique used in the exposition is seduction: the reader\/listener is invited into an experience. The exposition is a conversation between critical military studies and artistic research: it gives artistic attention to a military march and places importance on the acoustic and vibrating qualities of academic research. The writing itself subverts the practice of authoritative scholarly writing by presenting descriptive work as theoretical work, and by using citations as companions from the outside.<\/jats:p>\n keywords: military training, affect, autoethnography, walking, marching, sound, body, gender, pleasure, march<\/jats:p>","DOI":"10.22501\/jar.700528","type":"journal-article","created":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T16:57:00Z","timestamp":1603817820000},"source":"Crossref","is-referenced-by-count":2,"title":["Walking with Soldiers: How I learned to stop worrying and love cadets"],"prefix":"10.22501","author":[{"family":"Susanna Hast","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:07:16Z","timestamp":1784282836000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/700528\/882392"}},"issued":{"date-parts":[[2020,10,28]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jar.700528","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2020,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:09:02Z","timestamp":1784286542752,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"Picking Flowers in the City is exposing the City as a place of movement, colour, sound, temporalities, tautologies, dreameries and exchange. Moving image and sound assemblages attune and lead to attentive artistic research practices conducted in urban space that portrait the city beyond representation.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.2909261","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:05:47Z","timestamp":1777449947000},"source":"Crossref","is-referenced-by-count":0,"title":["Picking Flowers in the City"],"prefix":"10.22501","author":[{"family":"Denise Ziegler","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:00:52Z","timestamp":1784286052000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2909261\/2989632"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2909261","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:05Z","timestamp":1784283005550,"version":"3.55.0"},"posted":{"date-parts":[[2022,2,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,2,10]],"date-time":"2022-02-10T00:00:00Z","timestamp":1644451200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The art work is inspired by the concept of the flower clock by Carl Linnaeus, renowned 18th century botanist from Sweden. The installation \u201cWho will pollinate the Flower Clock\u201d that was exhibited in 2021 features a selection of endemic plants arranged in an outdoor installation. The piece is an invitation to decelerate, and tune into plant-time. How do plants know time? How do they attune to rhythms of day and night? How slow do they open and close their petals? How long do they blossom so that insects can visit them?<\/jats:p>\n keywords: plant installation, ciracadian rhythm, interspecies communication<\/jats:p>","DOI":"10.22501\/rc.1491062","type":"posted-content","created":{"date-parts":[[2022,2,10]],"date-time":"2022-02-10T03:57:17Z","timestamp":1644465437000},"source":"Crossref","is-referenced-by-count":0,"title":["Flower Clock"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:54Z","timestamp":1784282394000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1491062\/1491063"}},"issued":{"date-parts":[[2022,2,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1491062","published":{"date-parts":[[2022,2,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:11Z","timestamp":1784289851927,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2015,3,13]],"date-time":"2015-03-13T00:00:00Z","timestamp":1426204800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2015,3,13]]},"abstract":"This exposition consists of a 22-minute video piece, Aamu (Morning, 2013), and an essay titled \"Videoteos laatukuvana\" (\"A videowork as a genre picture\"). The video shows a family at breakfast. The essay views the piece as a contemporary genre picture \u2014 an interior painting depicting everyday life. The whole process reflects the many different ways in which art history can serve as material for contemporary art. In the text the words, too, take on a special, tangible, material form.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.62917","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:34Z","timestamp":1503635074000},"source":"Crossref","is-referenced-by-count":0,"title":["Videoteos laatukuvana\/ A videowork as a genre picture"],"prefix":"10.22501","author":[{"family":"Elina Saloranta","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:20:47Z","timestamp":1784287247000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/62917\/62918"}},"issued":{"date-parts":[[2015,3,13]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/ruu.62917","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2015,3,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026476,"version":"3.55.0"},"posted":{"date-parts":[[2024,12,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T00:00:00Z","timestamp":1733961600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Heaven on Earth: Revelation of the 10th Avatar\" makes connections between ancient myths and Earth's topography that correspond to Hinduism's ten incarnations of Vishnu, resulting in visual evidence of the prophesied return of Kalki to usher in the Golden Age of Satya Yuga.<\/jats:p>\n keywords: Hinduism, 10 avatars of Vishnu, Kalki, Wheel of Dharma, Satya Yuga<\/jats:p>","DOI":"10.22501\/rc.3017554","type":"posted-content","created":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T16:14:30Z","timestamp":1734020070000},"source":"Crossref","is-referenced-by-count":0,"title":["Heaven on Earth: Revelation of the 10th Avatar"],"prefix":"10.22501","author":[{"family":"Bradly Couch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:28Z","timestamp":1784282308000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3017554\/3017555"}},"issued":{"date-parts":[[2024,12,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3017554","published":{"date-parts":[[2024,12,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:52Z","timestamp":1784289892202,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"Sound diagramming is a visual exploration of sound that expands the act of listening into the audio-visual. Here I analyze diagramming as a method for exploring both un-represented aspects of sound and alternative perspectives of silence and the listening experience. I consider at the work of four artists: Liz K Miller (deconstructing ecological soundscapes); Christine Sun Kim (expressing a relationship with sound); Lawrence Abu Hamdan (the harmful misinterpretation of voice and accent) and Jorinde Voigt (the emotional experience of music composition). Listening with diagrams reveals previously unnoticed sonic details and provides alternative perspectives through which to consider otherwise familiar sound.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4300637","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:28:10Z","timestamp":1777987690000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening with Diagrams: Listening Beyond the Auditory Through the Practice of Sound Diagramming"],"prefix":"10.22501","author":[{"family":"Liz Miller","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:27:53Z","timestamp":1784287673000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4300637\/4300638"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4300637","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:34Z","timestamp":1784286274471,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2014,5,26]],"date-time":"2014-05-26T00:00:00Z","timestamp":1401062400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,5,26]]},"abstract":"This exposition considers movement intervention in architectural spaces as a form of artistic practice and potential research methodology. Examples of movement intervention within architecture in contemporary artworks are examined, helping to describe the parameters of this technique. Phenomenological aspects of these artworks, such as kinaesthetic empathy and the ubiquitous and physical context of architecture, are discussed. These can distance the viewer from an automatic understanding of the relationship between body and building, and introduce the potential for meaning beyond familiar ways of addressing architecture, such as through writing.The exposition centres on two on-site movement interventions by the author at post-war British buildings, St Peter\u2019s Seminary, designed by Gillespie, Kidd and Coia, and the tower housing blocks Bevin Court and the Sivill House, designed by Berthold Lubetkin, and examines how the works relate to these contexts as a space both of creation and of reception. These movement interventions address the similar cultural circumstances of these sites as well as their dissimilar current status. The exposition concludes with an assessment of the validity of the kinetic human body as a research tool and the capacity for artworks resulting from movement intervention to engage the viewer and contribute to existing architectural discourse.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.27285","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T14:09:49Z","timestamp":1492438189000},"source":"Crossref","is-referenced-by-count":0,"title":["Movement Intervention within British Post-War Architecture"],"prefix":"10.22501","author":[{"family":"Jaimie Henthorn","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:16:14Z","timestamp":1784283374000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/27285\/27286"}},"issued":{"date-parts":[[2014,5,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/jar.27285","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2014,5,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:43Z","timestamp":1784286523108,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Maryse Gagnon-LegaultMain Subject: Historical ClarinetResearch Supervisor: Wouter VerschurenTitle of Research: Josef Beer - The complete clarinet virtuosoResearch Question: What was the importance of the 18th century clarinetist Josef Beer and what made him stand out as the first international virtuoso on the clarinet?Summary of Results:The history of music is punctuated by the rise of crucial players who, by force of skills, influenced the work of composers, brought their instrument to technical improvement, pushed the boundaries of musical possibilities or just popularized a specific way of playing. One player did all those things at the end of the 18th century with the use of his instrument, the clarinet. Although mentioned in all history books about the clarinet, today\u2019s scholars have done little research on Josef Beer. However, when looking closer at Beer\u2019s life, repertoire and works, we notice how much he had the chance to be at the right place at the right moment. A known teacher of many of the greatest clarinet virtuosi, such as Michel Yost and Heinrich Baermann, he had influenced a generation of young musicians, popularizing his instrument all over Europe with his extensive tours. But what do we really know about Josef Beer and what made him stand out to become such an influential musician?This research is about the life and works written for and by this intriguing man, as well as a reflection on the general implication of the soloist in clarinet concerti and how the music he played became extremely personal, by the addition of unique ornamentation and variations of the \u201cskeleton\u201d - the score - made by the composer. Mainly biographical and historical, this work aims also to approach Beer through the performances of works by composers gravitating around him, including his own compositions.Biography:Maryse Legault is currently pursuing a Master\u2019s degree at the Koninklijk Conservatorium Den Haag in historical clarinets in the class of Eric Hoeprich. During her studies in the Netherlands, Maryse has had the opportunity to perform with many ensembles as a soloist, as well as an orchestral and chamber musician, in various countries including France, Belgium, Germany, The Netherlands and Russia. Curious to approach different repertoires, she focuses her research around the role of late 18th-century clarinet soloists and the birth of the pre-romantic German school of clarinet playing. Maryse holds a bachelor degree from McGill University in Montreal and plans to pursue doctoral studies next year in order to deepen her research experience.<\/jats:p>\n keywords: Clarinet, Josef Beer, 18th century, Performance practice, virtuoso, biography, music, france, russia, germany, concerto, Carl stamitz, concert spirituel<\/jats:p>","DOI":"10.22501\/koncon.217322","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:45:34Z","timestamp":1725907534000},"source":"Crossref","is-referenced-by-count":0,"title":["Josef Beer - The perfect clarinetist"],"prefix":"10.22501","author":[{"family":"Maryse Legault","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:50:25Z","timestamp":1784285425000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/217322\/217323"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.217322","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:48Z","timestamp":1784282988093,"version":"3.55.0"},"posted":{"date-parts":[[2019,10,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,10,22]],"date-time":"2019-10-22T00:00:00Z","timestamp":1571702400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This Ph.D. project in artistic research is concerned with the function of gesture in traditional Vietnamese music. Building on gender analysis of musical performance in TV shows, and further on autoethnographic inquiry throughout the artistic projects, the artistic output articulates a critical understanding of these practices. The aims of the project are to investigate the social function and meaning of musical gesture in traditional Vietnamese music, and to develop artistic responses that articulate an individual voice. The research questions that emerge from these conceptual and artistic aims are:1. What gender conventions can gesture analysis of musical performance unveil?2. In what ways can music created through the choreographic structuring of movement revealand question gender conventions in musical performance?3. How can my performance, in intercultural and interdisciplinary artistic collaborations,challenge current gender norms and instigate change in practices of traditional Vietnamese music?The method and design of this Ph.D. project builds on qualitative analysis of gesture in musical performance, with particular emphasis on employing a gender perspective in this analysis. In the artistic work, analysis of gesture has constituted a point of departure for the creation of a series of intermedia works that seek to develop methods that combine the practices of choreography and musical composition. Intercultural collaboration has provided particular challenges and possibilities in the development of each of these works. The results of the artistic work are published online in The Research Catalogue.The outcomes of the project outline how gendered gesture is taught in higher music education in Vietnam, and taken together with the historical overview of how nationalism and communism has shaped the country, that this teaching has an immediate relation to nation branding. The teaching of traditional music is equally related to the commercialised views of women as it is grounded in the preservation of tradition. Further, the development of a practice of composing music using gestural-sonorous objects as material became the central artistic method throughout this Ph.D. project. It has offered novel possibilities of approaching gestural materials and creating new choreographies and music based on a critical approach to the image of women in popular media. The results finally suggest that intercultural and inter-disciplinary artistic practice can propose social change, and provide counter images of traditionally gendered behaviour.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.55919","type":"posted-content","created":{"date-parts":[[2019,10,22]],"date-time":"2019-10-22T01:07:32Z","timestamp":1571706452000},"source":"Crossref","is-referenced-by-count":0,"title":["The Choreography of Gender in Traditional Vietnamese Music"],"prefix":"10.22501","author":[{"family":"Nguyen Thanh Thuy","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:44Z","timestamp":1784282444000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/55919\/477368"}},"issued":{"date-parts":[[2019,10,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.55919","published":{"date-parts":[[2019,10,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:50Z","timestamp":1784282990290,"version":"3.55.0"},"posted":{"date-parts":[[2024,12,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,12,4]],"date-time":"2024-12-04T00:00:00Z","timestamp":1733270400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The quest of reconciling scholarship and interpretative freedom has always been present in the early music movement discourse, since its 19th century foundations. Confronted with a plurality of performance practices, the performer of Early Music is forced to make interpretative choices, based on musicological research of the sources and their personal taste.The critical analysis of the sources related to a musical work is often a time-consuming and cumbersome task, usually provided by critical editions made by musicologists. Such editions primarily focus on the composer's agency, neglecting the contribution of a complex network of professions, ranging from editors, conductors, amateur and professional performers and collectors. The FAAM, Flemish Archive for Annotated Music, is an interdisciplinary project at the Royal Conservatoire Antwerp that wishes to explore the possibilities of annotation analysis on music scores for historically informed musicians. Annotations are a valuable source of information to recollect the decision-making process of musicians of the past. Especially when original musical recordings are not available, the marks provided by these performers of the past are the most intimate and informative connections between modern and ancient musicians.Contrary to a purely scholarly historically informed practice approach, based on the controversial concept of authenticity, we wish to allow the modern performers to reconcile their practice with the one of their predecessors in a process of dialectic emulation, where artistic process is improved through the past but does not stagnate in it.<\/jats:p>\n keywords: historically informed performance, historical knowledge, agency, source critique, early music performance, editions, 19th century, 20th century, aesthetics, performance, Choice, dialogue, freedom<\/jats:p>","DOI":"10.22501\/rc.2406928","type":"posted-content","created":{"date-parts":[[2024,12,4]],"date-time":"2024-12-04T10:28:02Z","timestamp":1733308082000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring plurality of interpretation through annotations in the long 19th century: musician's perspectives and the FAAM project."],"prefix":"10.22501","author":[{"family":"Nicholas Cornia","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:30Z","timestamp":1784282310000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2406928\/2406927"}},"issued":{"date-parts":[[2024,12,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2406928","published":{"date-parts":[[2024,12,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:03Z","timestamp":1784283003571,"version":"3.55.0"},"posted":{"date-parts":[[2019,1,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,1,15]],"date-time":"2019-01-15T00:00:00Z","timestamp":1547510400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"observations on two types of research conducted and where to draw the line between them<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.524242","type":"posted-content","created":{"date-parts":[[2019,1,14]],"date-time":"2019-01-14T18:54:18Z","timestamp":1547492058000},"source":"Crossref","is-referenced-by-count":0,"title":["URBAN FOREST: a 360 movie experience"],"prefix":"10.22501","author":[{"family":"Maja Maletkovic","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:49Z","timestamp":1784282449000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/524242\/524243"}},"issued":{"date-parts":[[2019,1,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.524242","published":{"date-parts":[[2019,1,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023011,"version":"3.55.0"},"posted":{"date-parts":[[2021,2,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,2,27]],"date-time":"2021-02-27T00:00:00Z","timestamp":1614384000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Role of Sound as a Component of Urban Experience is an audio-video essay that approaches urban sound as study material for sensorial analysis. An experiential experiment is carried when retransforming\/playing with sensorial components of an urban dweller. Research focuses on the record of urban sound in relation to image and its proximity to cinematic\/cinematographic experience. Playing with sensorial components reveals not only their influence on our ever-day perceiving of urban space but also the aesthetical nature of casual walks in the city. In other words, an analytical approach to urban sound reveals how cinematic everyday urban experience is or how cinema's sensorial base finds itself in the one of an urban dweller.<\/jats:p>\n keywords: urban sonic space, audio-visual, essay, urban exploration, cinematographic experience<\/jats:p>","DOI":"10.22501\/rc.1119389","type":"posted-content","created":{"date-parts":[[2021,2,26]],"date-time":"2021-02-26T19:19:49Z","timestamp":1614367189000},"source":"Crossref","is-referenced-by-count":0,"title":["The Role of Sound as a Component of Urban Experience"],"prefix":"10.22501","author":[{"family":"Greta Pundzaite","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:18Z","timestamp":1784282418000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1119389\/1119390"}},"issued":{"date-parts":[[2021,2,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1119389","published":{"date-parts":[[2021,2,27]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:54Z","timestamp":1784282994740,"version":"3.55.0"},"posted":{"date-parts":[[2023,5,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,5,6]],"date-time":"2023-05-06T00:00:00Z","timestamp":1683331200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is not a thesis of trying to mine a singular understanding, but a collecti(ion)(ve) body of research composed into a gesture. Other than my memories, I have only grazed the surface of the topics I will discuss (even then, memories are at the fragile grace of synaptic connections) There are holes here, tears that will take a lifetime to mend. As I will mention later, I am not interested in a singular whole. Holes, however, are curious places with a warm spot for happenings, so I am okay with the holes. All patchworks are several and my obsession with their cobbled nature does not mean there are no moments of stillness and clarity. This work is an archive of the muddiness of being and I invite you to draw parallels with your own logic as you stumble through this patchy, leaky, weed forest.<\/jats:p>\n keywords: queer ecologies, time, memory, geology, colonial memory<\/jats:p>","DOI":"10.22501\/rc.2123498","type":"posted-content","created":{"date-parts":[[2023,5,6]],"date-time":"2023-05-06T04:22:28Z","timestamp":1683346948000},"source":"Crossref","is-referenced-by-count":0,"title":["Splitting Mammalian Weeds: Monster for a Memory"],"prefix":"10.22501","author":[{"family":"Shana De Villiers","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:32Z","timestamp":1784282372000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2123498\/2123499"}},"issued":{"date-parts":[[2023,5,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2123498","published":{"date-parts":[[2023,5,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2025,10,24]],"date-time":"2025-10-24T14:36:33Z","timestamp":1761316593201,"version":"build-2065373602"},"posted":{"date-parts":[[2025,10,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,24]],"date-time":"2025-10-24T00:00:00Z","timestamp":1761264000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The concept of spatial context is often presented and visualized commonly through its relation to the built environment. Its significance predominantly plays a fundamental role in understanding the world and forming relations between various diverse experiences, and interpretations of reality. These influences, in which knowledge is produced and transformed by inhabiting the process of being seen, felt, and perceived, overlap where the notion of time unfolds intricate reflections of itself regarding happenings, entities, and physical elements.By exploring the spatial context in a non-linear timeline, it is possible to identify unique hidden dimensions that enrich the understanding of the totality that is related to spaces and their surroundings. This nonlinearity is achievable through the phenomenological understanding of lived spaces which brings mental, physical, and sensory, at the same time largely subjective realities to conceivable participation. With these guidelines, this research consists of an artistic exploration that aims to visually investigate artistic methods and processes of revealing extended visual qualities of mental space, and what type of connections are intertwined within its architectonic surroundings.My aim is to phenomenologically uncover hidden dimensions inherited within mental space. Therefore I destabilize conventional meanings of space by visually exploring and rendering the mental and emotional geographies that shape our lived experience, internalizing and revealing the constructedness of mental spatiality through an artistic process that reflects psychogeographic embodying. By challenging linear and objective representations of space by engaging in an artistic exploration of mental and emotional landscapes, I unfold non-linear timelines, subjective lived experiences, and the overlaps of perception and time, where memory and the present co-narrate within us.<\/jats:p>\n keywords: Keywords: spatial, artistic, mental space, consciousness, phenomenology, architectonic, spatial, phenomenology, mental space, artistic research, psychogeography, architectonic, consciousness, visual art, emotional space, mental representation, Mental image<\/jats:p>","DOI":"10.22501\/rc.3946684","type":"posted-content","created":{"date-parts":[[2025,10,24]],"date-time":"2025-10-24T14:31:01Z","timestamp":1761316261000},"source":"Crossref","is-referenced-by-count":0,"title":["mental space embodiments"],"prefix":"10.22501","author":[{"family":"\u00e7ifel \u00e7ifel","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,10,24]],"date-time":"2025-10-24T14:31:01Z","timestamp":1761316261000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3946684\/3946685"}},"issued":{"date-parts":[[2025,10,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3946684","published":{"date-parts":[[2025,10,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407728,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0017","type":"journal-article","created":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T09:04:23Z","timestamp":1561712663000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Johanna Schindler, \"Subjectivity and Synchrony in Artistic Research: Ethnographic Insights, Culture and Social Practice\""],"prefix":"10.22501","author":[{"given":"Manuel","family":"\u00c1ngel Mac\u00eda","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,6,23]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:54Z","timestamp":1742292174000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-johanna-schindler-subjectivity-and-synchrony-artistic-research-ethnographic-insights-culture"}},"issued":{"date-parts":[[2019,6,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0017","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,6,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:06Z","timestamp":1784286426098,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2018,9,24]],"date-time":"2018-09-24T00:00:00Z","timestamp":1537747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: Renata OliveiraMain Subject: Wind Band ConductingResearch Supervisors: Anna Scott, Andr\u00e9 GranjoTitle of Research: European Female Wind Band Composers and Their WorksResearch Question: Can shedding new light on women composers\u2019 contributions to the wind band and ensemble repertoire via the creation of a catalogue, the preparation of a critical edition, and the commission of a new work, help to encourage more Portuguese women to compose for this medium?Summary of Results: In Portugal, as far as it is possible to assess, only two established women composers have written works for wind band or large wind ensemble: Berta Alves de Sousa, who composed Porto Her\u00f3ico in 1943, and Maria de Lourdes Martins, who composed Raps\u00f3dia de Natal, Rond\u00f3 and Suite de Dan\u00e7as Tradicionais Portuguesas in 1978. In a country with an important tradition of wind band musical practice, it seems strange that so few women composers have used this medium to convey their musical ideas. In order to put the production of female composers for this medium in perspective, I researched relevant works from as many European female composers as possible. Ultimately, the hope was to better understand their outputs for wind band, to promote their works, and to make way for a new composition for wind band from a female Portuguese composer.This project has three main outcomes: 1) an online and physical catalogue of virtually all European female composers who have written for wind ensemble, including biographical data, a list of their works, and statistical analyses of their personal data (by age, country, type of ensemble); 2) a critical edition of Berta Alves de Sousa's Porto Her\u00f3ico manuscript; and 3) my commissioned work for wind band O Soldado da Misarela by Anne Victorino d\u2019Almeida. At the end of this project I can answer yes to the question of whether shedding new light on this field can encourage more female Portuguese composers to write for wind band. Biography: Renata Oliveira is a Portuguese conductor. She began her orchestra conducting studies with Jean-Marc Burfin and later with Jean-Sebastien B\u00e9reau. In conducting masterclasses Renata has worked with: Jose Pascual-Vilaplana, Kenneth Kiesler, Jean-Sebastien B\u00e9reau, Ernst Schelle, Robert Houlihan, Felix Hauswirth, Jan Cober and Douglas Bostock. She holds a Masters in Psychology and a Masters in Orchestra Conducting. She is conductor of two Portuguese wind bands, and is responsible for their associated music schools. Renata simultaneously studies Wind Band Conducting with Alex Schillings at the Royal Conservatoire of The Hague and a Masters in Music Teaching (Wind Band Conducting specialisation) at the University of Aveiro.<\/jats:p>\n keywords: europe, wind, wind band, Conducting, gender, female, composition<\/jats:p>","DOI":"10.22501\/koncon.297479","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:43:38Z","timestamp":1725907418000},"source":"Crossref","is-referenced-by-count":0,"title":["European Female Wind Band Composers and Their Works"],"prefix":"10.22501","author":[{"family":"Renata Silva Oliveira","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:46:36Z","timestamp":1784285196000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/297479\/443142"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.297479","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936930,"version":"3.55.0"},"posted":{"date-parts":[[2025,9,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,4]],"date-time":"2025-09-04T00:00:00Z","timestamp":1756944000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This small handbook shares the learnings from participatory online concerts which were developed as part of the \"music as an invitation\" project. Using the two concerts developed for the \"music as an invitation\" project as case studies, this book presents the basic steps on putting together participatory online concerts. It also brings up some discussion about some relevant points to be observed during those steps, drawing specifically from the experience in the \"music as an invitation\" project.This handbook aims to contribute to other curious and adventurous artists and producers who are interested in exploring creative ways to share music with their audiences. By exploring participatory ideas in online concerts, here we thrive to do what music does best: bring people together.The \"music as an invitation\" project was a Marie S\u0142odowska-Curie Actions Postdoctoral Research developed at the University of Bergen, funded by the European Union.<\/jats:p>\n keywords: Music Performance, Digital concerts, liveness, Participatory Art, interdisciplinary arts, piano, Audience participation<\/jats:p>","DOI":"10.22501\/rc.3759558","type":"posted-content","created":{"date-parts":[[2025,9,4]],"date-time":"2025-09-04T12:56:04Z","timestamp":1756990564000},"source":"Crossref","is-referenced-by-count":0,"title":["music as an invitation - comments on experiences of online participatory concerts (a small handbook)"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-3366-7189","authenticated-orcid":false,"family":"K\u00e9sia Decot\u00e9 Rodrigues","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:58Z","timestamp":1784282278000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3759558\/3779042"}},"issued":{"date-parts":[[2025,9,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3759558","published":{"date-parts":[[2025,9,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023024,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The experience of the nonurban was grossly different in both the waves of the pandemic. Whereas in the first the rural was sought out for, in the second wave, the absence of health infrastructure was widely experienced.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1274942","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T03:12:33Z","timestamp":1622689953000},"source":"Crossref","is-referenced-by-count":0,"title":["NON METRO\/URBAN EXPERIENCES"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:09Z","timestamp":1784282409000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1274942\/1274943"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1274942","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:43Z","timestamp":1784282983668,"version":"3.55.0"},"posted":{"date-parts":[[2024,7,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,7,5]],"date-time":"2024-07-05T00:00:00Z","timestamp":1720137600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition is an artistic PhD thesis and contains research outputs in three categories, Performance Archive, Research Publications and Method Development tied together by an essay.I.Essay: Testimony of a Pilgrim.II.Performance Archive:No Show - exposition.Island - exposition.Strings - exposition.Pleased to Meet You - exposition.III.Research Publications:Porous and Embracing Dramaturgy for Transformative Encounters - video article.A Quest for Existential Sustainability - video article.Transformative Encounters - podcast series.IV.Method Development:ME-THOD.How-little-is-enough-approach.Abstract At the core of this artistic doctoral thesis are four performance projects designed to counter the consumer-driven nature of contemporary performance-making while also addressing the need to develop sustainable methods of performance. Guided by the question: how to construct sustainable methods of performance for transformative encounters? the inquiry transcends the different layers of performance-making to explore the potential of performance as a catalyst for societal change.As a part of the Agenda 2030 Graduate School, an interdisciplinary research initiative at Lund University, the project focuses on existential sustainability and investigates how performance can enhance participants' sense of meaning and motivation for adopting sustainable lifestyles and increasing sustainable awareness. The thesis output is presented in three categories; a performance archive documenting, detailing and analysing the performances and their impact; research publications, disseminating findings and key concepts through different public formats; and method development accounting for the methodological approaches that have emerged through the process. The four performance works of this artistic research are: No Show (2020), Island (2020), Strings (2022), and Pleased to Meet You (2022\/2023).The three publications of the project are: How Little is Enough? Embracing and Porous Dramaturgies for Transformative Encounters, a video article; How Little is Enough? A Quest for Existential Sustainability, a video article; and the podcast series Transformative Encounters. Utilizing Me-thod, a pluralistic situated methodology grounded in the artist\u00b4s personal background and skillset, together with the how-little-is-enough approach, which minimizes production and focuses on essential needs, the project has collected insights into how performative encounters can initiate transformation in participants and foster connections to the world around them, thereby enhancing existential sustainability and nurturing care for the environment. Through repeated cycles of action-based artistic research, employing qualitative materials and autoethnographical approaches, rich data was generated. The findings emphasize the importance of personal engagement, embodiment, and authentic exchange as catalysts for transformation within performative encounters. Through this investigation, the thesis aims to contribute to the development of sustainable approaches to performance-making that facilitate profound and meaningful human experiences in an era marked by unprecedented societal and environmental challenges.ISBN:978-91-8104-107-1<\/jats:p>\n keywords: Sustainable performance, existential sustainability, porous dramaturgy, embracing dramaturgy, participation, immersive theatre, relational aesthetics, sustainability, relation-specific-performance, transformation, performative encounters, transformative encounters, encounter<\/jats:p>","DOI":"10.22501\/rc.1414313","type":"posted-content","created":{"date-parts":[[2024,6,5]],"date-time":"2024-06-05T08:27:30Z","timestamp":1717576050000},"source":"Crossref","is-referenced-by-count":0,"title":["HOW LITTLE IS ENOUGH? Sustainable Methods of Performance for Transformative Encounters."],"prefix":"10.22501","author":[{"family":"Steinunn Kn\u00fats \u00d6nnud\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:41Z","timestamp":1784282321000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1414313\/1414314"}},"issued":{"date-parts":[[2024,7,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1414313","published":{"date-parts":[[2024,7,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:04Z","timestamp":1784369104301,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2024,6,7]],"date-time":"2024-06-07T00:00:00Z","timestamp":1717718400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,6,7]]},"abstract":"In January of 2022, I traveled with my family to Catarata Gocta, a two-tiered waterfall in the high rainforest, just outside of Cocachimba in Peru\u2019s northeast. I seized this opportunity to conduct an artistic research experiment combining field recording, mystical participation, dream work, philosophy, and psychology. I incite and analyze dreams, peel back the perverse layers of my capitalist induced fantasies, exhaust liquid metaphors, engage in forms of mystical participation, discuss whether it\u2019s even possible to record a place at all and draw connections and conclusions whose coherence is, well, maybe not so coherent. This essay touches on Sonic Journalism, the psychologies of Jung, the art criticism of Sontag and Berger and the art of Cage, Duchamp, and Hunter S. Thompson. The field recordings and images presented here are shreds of evidence supporting my own twisted brand of Gonzo Journalism. It is a tight rope walk across microphone cables and book spines, fueled by coffee, internet databases, and obsessive listening. The gravitational current pulling the waters of Catarata Gocta earthward is the dense center around which this essay orbits. Stretching across its horizon, I feel myself emptied, my thoughts laid bare and made available for self-examination.<\/jats:p>\n keywords: field recording, capitalism, dreams, nature, sound studies<\/jats:p>","DOI":"10.22501\/hub.2339085","type":"journal-article","created":{"date-parts":[[2024,3,6]],"date-time":"2024-03-06T09:42:15Z","timestamp":1709718135000},"source":"Crossref","is-referenced-by-count":0,"title":["The Signifigance of a Waterfall Divided in Two"],"prefix":"10.22501","author":[{"family":"Eric Maltz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:23:48Z","timestamp":1784366628000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2339085\/2339086"}},"issued":{"date-parts":[[2024,6,7]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/hub.2339085","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2024,6,7]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407361,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0026","type":"report","created":{"date-parts":[[2019,12,27]],"date-time":"2019-12-27T20:56:38Z","timestamp":1577480198000},"source":"Crossref","is-referenced-by-count":0,"title":["Resenha do livro Henk Slager, \"The Pleasure of Research\""],"prefix":"10.22501","author":[{"given":"Jos\u00e9","family":"Quaresma","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,12,26]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:00Z","timestamp":1742292180000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/pt\/resenha-do-livro-henk-slager-pleasure-research-pten"}},"issued":{"date-parts":[[2019,12,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0026","published":{"date-parts":[[2019,12,26]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407975,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0058","type":"journal-article","created":{"date-parts":[[2022,10,27]],"date-time":"2022-10-27T11:23:58Z","timestamp":1666869838000},"source":"Crossref","is-referenced-by-count":0,"title":["Von Pilzen in Beuteln und Gummib\u00e4ndern. Einige fragmentierte Bemerkungen zum k\u00fcnstlerischen Forschen an der Hochschule f\u00fcr Musik und Tanz K\u00f6ln"],"prefix":"10.22501","author":[{"given":"Evelyn","family":"Buyken","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2022,10,28]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:24Z","timestamp":1742292204000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/de\/von-pilzen-beuteln-und-gummibaendern-einige-fragmentierte-bemerkungen-zum-kuenstlerischen-forschen"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0058","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:48Z","timestamp":1784289828561,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T00:00:00Z","timestamp":1560470400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,6,14]]},"abstract":"Weather is not an object experienced from a distance, but rather a medium in which every living being is immersed. This weather reporting views clouds as 'containers of possibility,' as an infrastructure for thinking about the body as a vibrant, experiential and living matter to reinforce a direct relation to nature - merging land and sky. Because environmental commitments are complex, I enter the challenge through exploring embodied modes of inquiry into urban-making using a corporeal relation to clouds and atmosphere, exploring their common materiality through a day's workshop culminating into a performance (modes expressed as intermissions). The artistic research is grounded in a Butoh choreography practice called Body Weather, performing fabulations with clouds supported by theoretical roots in corporeal studies, vibrant materialities, environmental imagining, atmospheres and assembled relations. I engage with the question of how to curate a corporeal poetics in urban-making with clouds in mind, and what if bodily movements created atmospheres to ecologically live by? My intent is to cultivate an artistic embodied approach to urban-making, thinking through clouds and embracing the body as a refined medium for generating a poethic -poetic, political and ethical - entangle with space.<\/jats:p>\n keywords: clouds, urbanism, weather, Butoh, choreography, poethics, embodied methodology, environmental artistic research<\/jats:p>","DOI":"10.22501\/ruu.453323","type":"journal-article","created":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T05:48:49Z","timestamp":1560491329000},"source":"Crossref","is-referenced-by-count":0,"title":["Body Weathering - poetic nebular intentions"],"prefix":"10.22501","author":[{"family":"Anna Maria Orru","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:13:45Z","timestamp":1784286825000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/453323\/453324"}},"issued":{"date-parts":[[2019,6,14]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/ruu.453323","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,6,14]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:52Z","timestamp":1784369032646,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2021,3,15]],"date-time":"2021-03-15T00:00:00Z","timestamp":1615766400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,3,15]]},"abstract":"The Covid-19 pandemic of early 2020 has had a huge and wide-reaching effect. My group made up of four composer-performers called Bastard Assignments was not exempt. We were pulled to continue to make work, the difference now is that we are online at our individual homes and meeting each other on Zoom. Zoom is a company that has been around since 2011 and a lot of us have recently become familiar with it to celebrate birthdays at a distance, catch up with friends, or conduct our business. It was set up by a Chinese computer scientist who only after the ninth attempt at the application secured his visa to live in the USA. Since the beginning of 2020, the worldwide usage of Zoom has risen 67%, its use diversifying from corporate communications to domestic and arts activities. My compositional and performance work with Bastard Assignments is rooted in collaboration, devising, and group creation. It favours memorisation over the use of musical scores, emotional presence over reproducibility. As we take our work together into a purely online workspace, important questions arise. Through a new way of working online, does our adaptability bring about a new form? How will we understand this online work when and if normalcy returns? Skills that we learn as composer-performers are dropped, remade, and tested during this period, how will our practice have changed?<\/jats:p>\n keywords: Lockdown, Collaboration, Radigue, Internet, Composition<\/jats:p>","DOI":"10.22501\/vis.1107476","type":"journal-article","created":{"date-parts":[[2021,3,14]],"date-time":"2021-03-14T19:09:27Z","timestamp":1615748967000},"source":"Crossref","is-referenced-by-count":0,"title":[",__ ^_. ||:_DOWN_DEEPCUTS_'LOCK[ANIM\u00c9.INVENTION] :||,\u2022__\\-\u2018 - - \u00c9TUDES FOR THE BEGINNING OF AN ONLINE PRACTICE"],"prefix":"10.22501","author":[{"family":"Josh Spear","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:13:02Z","timestamp":1784365982000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1107476\/1107477"}},"issued":{"date-parts":[[2021,3,15]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/vis.1107476","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2021,3,15]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:12Z","timestamp":1784365872014,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T00:00:00Z","timestamp":1737504000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,1,22]]},"abstract":"This exposition documents the doctoral dissertation \u201cA performative approach to wool felting : Rhizomatic relations in visual arts making and art education\u201d from the University of Agder, Faculty of Fine Arts, 2023.The exposition consists of a PDF of the printed dissertation and a list of the media (film or sound) that is part of the dissertation.As the first combined dissertation in Fine Arts with the specialisation Arts in context submitted to the University of Agder, comprising artistic and scientific works, this research evolves between artistic and written acts. It is a performative exploration of a performative approach to the ancestral technique of wool felting. The dissertation includes six explorations: three public exhibitions, three articles, and a 7th element consisting of a series of ongoing \u2018minor\u2019 moments related to the topic of the thesis that I carry out in my everyday practices as an artist, teacher and researcher. Alongside with that, I provide a mantle that is a metatext of the dissertation. In dialogue with the works of Deleuze and Guattari (1980) and Barad (2007), I use concepts that denote a theoretical and philosophical position inspired by an ontology of immanence and agential realism. The pedagogical stance of this research acknowledges Atkinson\u2019s (2015) ideas on the adventure of pedagogy that brings forward the notion of the \u2018not-known\u2019.The rhizomatic network connecting the seven explorations is transmitted through four interconnected parts that I call \u2018strata\u2019, which is in accordance with my research design. A diffractive reading of the explorations suggests a performative pedagogy that actualises questions related to artistic, pedagogical, and research practices. It underlines the emerging knowledge creation in situ as not-isolated and not pre-existing entities and\/or thoughts.Moving between the de-stabilisation\u2013re-stabilisation, de-forming\u2013reforming, and de-territorialisation\u2013re-territorialisation of my practices brings a fruitful in-coherence. My doubts, interrogations, and experimentations might affect the reader, and provoke new thoughts. The mapping of my explorations can create resonance in readers, also in their own contexts \u2013 being similar or different. Maybe this could inspire more persons to explore further how one could teach, not only how one should teach.This dissertation is dedicated to those that doubt and ask questions, but also to those that work with certainty, in artistic, pedagogical, and\/or research contexts.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.3306839","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T09:05:46Z","timestamp":1737536746000},"source":"Crossref","is-referenced-by-count":0,"title":["A performative approach to wool felting : Rhizomatic relations in visual arts making and art education"],"prefix":"10.22501","author":[{"family":"Samira Jamouchi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:58:23Z","timestamp":1784365103000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3306839\/3306838"}},"issued":{"date-parts":[[2025,1,22]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/uia.3306839","published":{"date-parts":[[2025,1,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:18Z","timestamp":1784289918472,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","license":[{"start":{"date-parts":[[2022,4,15]],"date-time":"2022-04-15T00:00:00Z","timestamp":1649980800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2022,4,15]]},"abstract":"This article discusses the relationship between autobiographical memories and personal and group identities in the post-conflict soundscape of Sarajevo in Bosnia and Herzegovina. The discussion will focus on the perspectives of residents and their intersecting narratives, collected in interviews, on the city's soundscape. I will relay intimate experiences of the city's soundscapes, contextualized from the position of a listener who is native to the city. The ways in which memories of the recent war (1992-1996) inform conversations reveal links between traumatic memories and experiences of environmental sounds. From the religious calls of mosques and churches to inhabitants pleading for help on the streets of Sarajevo, the complexity of contexts that play a role in knowledge production about the city will be explored through listening and writing. The article, in the form of praxis, aims to accentuate the importance of local knowledge of soundscape as a means of decolonizing the sonic arts discourse. An interest in the ways that the city\u2019s inhabitants engage with contemporary soundscapes and how the past informs our present knowledge about places guides this inquiry.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.1599648","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:38Z","timestamp":1733131538000},"source":"Crossref","is-referenced-by-count":0,"title":["Contextualities of Listening to Soundscapes: The Past and The Present Converging in Sarajevo"],"prefix":"10.22501","author":[{"family":"Maja Ze\u0107o","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:34:18Z","timestamp":1784288058000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1599648\/1599649"}},"issued":{"date-parts":[[2022,4,15]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/jss.1599648","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2022,4,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:27Z","timestamp":1784286267446,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2016,11,8]],"date-time":"2016-11-08T00:00:00Z","timestamp":1478563200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,11,8]]},"abstract":"In the research project \u201atrees: Rendering Ecophysiological Processes Audible\u2018, we worked on the acoustic recording, analysis and representation of ecophysiological and climatic processes in and around plants and studying the acoustic and aesthetic requirements for making them perceptible. We recorded sounds of plants and brought them in relation to other measurement data such as that relating to the microclimate, sap flow, changes in trunk radius and water potential in the plants\u2019 organs \u2013 measurement data that is not auditory per se. How can processes that are beyond our normal perception be made directly perceptible, creating new experiences and opening a new window on nature for scientists, artists and the general public? To what extent is our sense of hearing of use? The product of our research project, the installation 'trees: Pinus sylvestris' replays sonifications of ecophysiological measurement data as well as recordings of acoustic emissions of a tree from early summer 2015 \u2013 the peak of the growth period of our experimentation plant, a Scots pine (Pinus sylvestris) located in the central Swiss Alps in Salgesch in the canton of Valais. The installation is designed as an artistic observation system that transforms ecophysiological data into a generative piece of music. 'Trees: Pinus sylvestris' makes experienceable and audible the normally hidden processes by which a plant copes with its local conditions.<\/jats:p>\n keywords: ecophysiology, ecology, sound art, Media Arts, bioacoustics, data sonification<\/jats:p>","DOI":"10.22501\/jar.215961","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T15:52:36Z","timestamp":1492444356000},"source":"Crossref","is-referenced-by-count":0,"title":["trees: Pinus sylvestris"],"prefix":"10.22501","author":[{"family":"Marcus Maeder","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:12:57Z","timestamp":1784283177000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/215961\/215962"}},"issued":{"date-parts":[[2016,11,8]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/jar.215961","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2016,11,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:20Z","timestamp":1784282960910,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"35","license":[{"start":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T00:00:00Z","timestamp":1752537600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,7,15]]},"abstract":"The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape was a human-pulled carriage journey that re-envisioned the eighteenth-century traverse of the picturesque landscape, the subject-objectification of the view, and the imperialistic impulse behind the voyage pittoresque. This artistic experiment visually, kinaesthetically, and performatively explored the transformation from landscape to image that formed the basis of modern perception, as part of the colonial legacy inherent within the picturesque view. The Grand Tour carriage was pulled by human labour, evidencing the forced labour economy that impelled the European Enlightenment, while demonstrating in human terms, the use, abuse, and commodification of human and non-human animals. The Grand Tour proceeded from Binche to Brussels to Antwerp, Belgium in 2022.The Grand Tour experiment investigated the eighteenth-century picturesque gaze, which travelled unchecked over the landscape in industrialised Europe, a harbinger of the annexation and enclosure of land that had been commonly owned, traditionally used, or publicly accessible, while portending the colonisation of lands abroad. The picturesque gaze, an imperialist mechanism, still fragments the landscape, excising two-dimensional pictures from the three-dimensional world around us, a vestige and augur of the destruction of lands, cultures, and peoples.Shifting between early modern and contemporary perception, The Grand Tour bisected space and time in a cleaving manoeuvre, creating new fault lines in which multiple planes of space-time might co-exist. This experiment tested whether a new neo-picturesque framework could be forged in a dimension of space-time that alters according to the perception and orientation of the traverser, casting contingent new imaginaries into physical and psychic realms where they may or may not become realities, according to Arno B\u00f6hler\u2019s philosophy as artistic research approach (2019). This experiment envisaged a plurality that did not exist in the eighteenth century but may have already been limned in its myriad contradicting, contrasting, and diverging modes of sensing and experiencing the world around us in a relational and now relative notion of space-time.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"download-media?work=3794668&file=3794702\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: Grand Tour, Philosophy as artistic research, Picturesque aesthetics, The eighteenth-century landscape traverse, Leibniz's relationalism, Alain Roger's artialisation in visu, Imperialist gaze, Simultaneous and sequential space-time, Condillac's sensationism<\/jats:p>","DOI":"10.22501\/jar.3440412","type":"journal-article","created":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T11:11:52Z","timestamp":1752577912000},"source":"Crossref","is-referenced-by-count":0,"title":["The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape"],"prefix":"10.22501","author":[{"family":"Rebecca J. Squires","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Bart Geerts","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:19Z","timestamp":1784282239000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3440412\/3440256"}},"issued":{"date-parts":[[2025,7,15]]},"references-count":0,"journal-issue":{"issue":"35"},"URL":"https:\/\/doi.org\/10.22501\/jar.3440412","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2025,7,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:29Z","timestamp":1784282969130,"version":"3.55.0"},"posted":{"date-parts":[[2026,5,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T00:00:00Z","timestamp":1779148800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition examines a collaborative performance writing process that resulted in a series of iterations across media - live performance, radio show, online conversation with q & a, and live scripted conversation. Shelley Hodgson and Mark Leahy are artists and writers working with texts, recording, broadcast, and performance. They have known each other\u2019s practice for almost two decades and in the Spring of 2023 they decided to embark together on a collaborative process. They were curious to see where being in a studio space without any initial plan or objective might lead them, beginning with minimal \u2018material\u2019 and carving out chunks of time from busy lives, they began to make a performance.The exposition opens out some of the questions that arose in this process, around bodies, names, and communication. It develops ideas and actions presented in the performance work \u2018twiceness\u2019 (Plymouth, May and July 2024), the live conversation 'thriceness' (Penryn, February, 2025), the radio show \u2018what shall we call it?\u2019 (Soundart Radio, February 2025) and an artists\u2019 talk for CAMP (Online, April 2025) picking up on threads and themes that emerged from their working together.Blocks of information, of narrative, of action, combining the found, the given, and the made, were built into a sequence of telling and showing across the different iterations of the project. Their research questions interaction, engaging with gesture, with doubling, with repetition, with exchange. Underlying the performers\u2019 relationship is awareness of loss and gaps, what is missed or missing, what cannot be communicated, what doesn\u2019t carry across.<\/jats:p>\n keywords: Performance Writing, collaborative processes, Iterative Process, improvisation, live art, radio, conversation, open source<\/jats:p>","DOI":"10.22501\/rc.3704189","type":"posted-content","created":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T13:14:11Z","timestamp":1779196451000},"source":"Crossref","is-referenced-by-count":0,"title":["from twiceness to thriceness: a performance writing collaboration"],"prefix":"10.22501","author":[{"family":"Mark Leahy","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:39Z","timestamp":1784282199000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3704189\/3704190"}},"issued":{"date-parts":[[2026,5,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3704189","published":{"date-parts":[[2026,5,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:38Z","timestamp":1784369078409,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,11,2]],"date-time":"2020-11-02T00:00:00Z","timestamp":1604275200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2020,11,2]]},"abstract":"\"Action versus Reaction - Artistic encounters with an aesthetic otherness\", was a research project undertaken at the Rhythmic Music Conservatory in Copenhagen in 2015-2016. The primary artistic output of the project is the album \u201dResonance\u201d, released on Sundance Music in September 2016.My ensemble Resonance (previously known as \u201d Strings, Percussion & Piano\u201d) consists of 3 string players as well as Peter Bruun on drums and myself on piano. The string players all have a background in European classical music and (composed) new music, whereas Peter and I originally came out of improvised music, jazz and its neighbouring regions. In this ensemble, we have been dealing with artistic encounters between our different aesthetics backgrounds for several years. I have realized that my primary curiosity orbits around the questions: 1)\tHow can all members of a cross-genre ensemble stay true to their own musical intuition, developed through decades of full immersion?2)\tHow can these confident artists then transcend their notion of themselves and meet anew in an aesthetic field different from their respective origins?In 2018, Jacob Anderskov was nominated for the Nordic Council Music Price for the album Resonance.<\/jats:p>\n keywords: composition, improvisation, cross-genre music creation, practice-based research, intuition, recording, RMC staff<\/jats:p>","DOI":"10.22501\/rmc.481737","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T05:43:04Z","timestamp":1737524584000},"source":"Crossref","is-referenced-by-count":0,"title":["Action vs. Reaction"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:19:22Z","timestamp":1784366362000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/481737\/481738"}},"issued":{"date-parts":[[2020,11,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/rmc.481737","published":{"date-parts":[[2020,11,2]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:54Z","timestamp":1784283054538,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"30","license":[{"start":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T00:00:00Z","timestamp":1698105600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,10,24]]},"abstract":"This autoethnographic exposition details a short series of musicking encounters aimed at making kin in a rainforest-covered mountain on unceded Djiru Country on the east coast of Australia. Each encounter consisted of a short hike and a discrete musical encounter with local subjectivities. The inquiry considers the place of the walking in the musicking, and my joint response-ability with my saxophone (or the ways in which we apprehend and respond to other subjectivities) in each encounter. I argue that the hiking and discrete sonic encounters became entangled processes, in which my epistemological capacity and music-making practice were challenged and the possibility of kinship resides.<\/jats:p>\n keywords: autoethnography, response-ability, musicking, hiking, making kin<\/jats:p>","DOI":"10.22501\/jar.1508482","type":"journal-article","created":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T10:00:26Z","timestamp":1698141626000},"source":"Crossref","is-referenced-by-count":0,"title":["The Plane of Cicadas: On the Possibility of Making Kin through Musicking"],"prefix":"10.22501","author":[{"family":"Mathew Klotz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:24Z","timestamp":1784282424000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1508482\/2161820"}},"issued":{"date-parts":[[2023,10,24]]},"references-count":0,"journal-issue":{"issue":"30"},"URL":"https:\/\/doi.org\/10.22501\/jar.1508482","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,10,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:57Z","timestamp":1784282997890,"version":"3.55.0"},"posted":{"date-parts":[[2026,6,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,6,30]],"date-time":"2026-06-30T00:00:00Z","timestamp":1782777600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This reserach paper analyzes the artistic and musical career and evolution of the legendary bassist pino paladino<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4732544","type":"posted-content","created":{"date-parts":[[2026,6,30]],"date-time":"2026-06-30T17:26:43Z","timestamp":1782840403000},"source":"Crossref","is-referenced-by-count":0,"title":["PINO PALADINO"],"prefix":"10.22501","author":[{"family":"Victor Calzada Basso","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:31Z","timestamp":1784282191000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4732544\/4732543"}},"issued":{"date-parts":[[2026,6,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4732544","published":{"date-parts":[[2026,6,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:50Z","timestamp":1784283050908,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"30","license":[{"start":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T00:00:00Z","timestamp":1698105600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,10,24]]},"abstract":"This exposition is based on an archaeological survey in the landscapes around Kilmartin Glen, Argyll and Bute, western Scotland, and references digital datasets \u2013 archaeological reference points \u2013alongside the acts (enactments) of field walking, photography, drawing and poetry \u2013 experiences and representational discourses \u2013 to consider how land and landscapes may be read as dynamic palimpsestic and multi-dimensional fields of entanglement.Digital datasets were used by the survey to garner fruitful material to aid identification and to analyse (subtle) surface archaeological remains in the inhospitable terrain on the hills bordering Kilmartin Glen. By analysing, categorising and archiving such information, through naming and cataloguing, archaeological methodology effectively orders and tames such wildernesses. We, by contrast, are seeking to draw art and archaeological practices into dialogue with one another in order to assert the importance of recording experiences and random acts as a part of field research and, thereby, to both re-vivify and re-wild our encounters with landscape. Our exposition, and shared practices, intentionally encourage nuances of reading and interpretation that are found at the dialogic intersection between an artist\/poet encountering archaeological landscape survey, and an archaeologist experiencing artistic, poetic and linguistic readings of land: reflecting in the process upon contemporary methodologies and underlying theoretical discourses. As such this research sits within the wider contemporary turn towards interdisciplinary practice, and seeks to establish a dialogue across disciplines; between humans and landscapes, practice and matter, that provides emerging approaches and hopes to remind us of the wild experience.<\/jats:p>\n keywords: Art, Archaeology, Archive, Mapping, Poetry, Landscape, Re-wilding, interdisciplinarity<\/jats:p>","DOI":"10.22501\/jar.1251029","type":"journal-article","created":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T10:03:46Z","timestamp":1698141826000},"source":"Crossref","is-referenced-by-count":0,"title":["CRITICAL CONFABULATIONS \u2013 Corresponding Practices and Mappings"],"prefix":"10.22501","author":[{"family":"Jim Harold","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Alex Hale","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:18Z","timestamp":1784282418000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1251029\/2310585"}},"issued":{"date-parts":[[2023,10,24]]},"references-count":0,"journal-issue":{"issue":"30"},"URL":"https:\/\/doi.org\/10.22501\/jar.1251029","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,10,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:35Z","timestamp":1784282975926,"version":"3.55.0"},"posted":{"date-parts":[[2026,6,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,6,11]],"date-time":"2026-06-11T00:00:00Z","timestamp":1781136000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abstract\u201cOrientation as Gardening\u201d investigates orientation not as a fixed cognitive operation, but as a performative, relational and embodied practice. Developed through artistic research processes in Tokyo, London and Vienna between 2016 and 2018, the project combines sculpture, choreography, performative intervention, spatial research and participatory formats. Central to the research are the \u201cAssemblage Boards,\u201d modular sculptural structures functioning simultaneously as seating objects, performative devices, display systems and temporary architectures of relation.Drawing from Japanese garden philosophy, Kitaro Nishida\u2019s concept of \u201cpure experience,\u201d Humberto Maturana\u2019s notion that \u201cevery doing is knowing,\u201d and the practice of presencing as introduced through the artistic and dramaturgic work of Ursula Reisenberger, the project examines how subjectivity emerges through situated contact with environments, objects, bodies and social structures. Reisenberger\u2019s embodied methodology, grounded in the body technique Plastiques by Jerzy Grotowski, served as a fundamental source for the research process. Through presencing as a mode of heightened attention and embodied perception, the project developed a practical framework for generating knowledge through direct experience, relational awareness and sensory attunement.Rather than producing representation, the work generates conditions for presence, perception and relational awareness. The research asks how orientation can become an ongoing act of cultivation \u2014 a form of gardening \u2014 in which self and environment are continuously co-constituted.The project unfolded through three interconnected research situations: Tokyo (\u201cExpand\u201d), London (\u201cAdapt\u201d) and Vienna (\u201cMerge\u201d). Each site functioned as both context and methodological condition. Tokyo enabled an investigation into presence, repetition and sensory perception through daily performative actions in Zenpukuji Park. London shifted the research into highly regulated urban space around King\u2019s Cross, foregrounding questions of public space, exclusion, ownership and participation. Vienna transformed the research into a dialogical exhibition framework integrating multiple artistic positions within the Korea Kulturhaus and Donaupark.Throughout all stages, the project interculturally examined how artistic practice can generate experiential knowledge that exceeds purely discursive understanding. Presencing functioned not only as a preparatory exercise but as a central artistic research method, enabling forms of embodied knowing through which relations between self, environment and collective experience could continuously emerge and be renegotiated.Orientation as GardeningConceptual project outline: Carola Platzek, Almut RinkArtistic direction: Almut RinkSystemic development and improvisation: Ursula ReisenbergerSculptures (Boards) and installation: Almut RinkCo-development, construction, adaptation of the Boards: Gerald FreimuthArchitectural consultation, plans: Burak GencOrientation as Gardening I \u2014 TokyoResearch and production: Carola Platzek, Almut RinkPerformance: Carola Platzek, Almut RinkDramaturgical development \/ structure: Ursula Reisenberger, Almut RinkProduction: Carola Platzek, Almut RinkInstallation: Gerald FreimuthProject assistance: Makiko TsujiOrganisation: Tatsuhiko and Hiroko MurataOrientation as Gardening II \u2014 LondonResearch and production: Ursula Reisenberger, Almut RinkPublic space intervention: Ursula Reisenberger, Almut RinkPerformance: Ursula Reisenberger, Almut RinkInstallation Crossing: Almut RinkWalks: Ursula ReisenbergerArtist talk: Almut RinkWorkshop: Ursula ReisenbergerInstallation: Gerald Freimuth, Burak GencProject assistance: Yoon Bae, Chiara Baglas, Matthew Wang, Freva WarzelOn Orientation \u2014 ViennaResearch and production: Ursula Reisenberger, Almut RinkCuration of invited contributions: Anne Eggebert, Almut RinkChoreography of the Boards \/ exhibition structure: Ursula Reisenberger, Almut RinkPerformance: Kyoko Ebata, Matthew WangConcert performance: Ursula Reisenberger, Vienna Music SchoolArtist talk: Almut RinkWorkshop: Ursula ReisenbergerInstallation: Burak GencProject assistance: Sarah Gold, Patrick Eiten<\/jats:p>\n keywords: Orientation, Embodied Knowledge, Phenomenology, Environmental Humanities, Spatial Practice, Participatory Art, Sculpture and Installation, Assemblage, Temporary Architecture, Social Space, Site-Specific Practice, Intercultural Research, Presence, Human\u2013Environment Relations, Performative Intervention, Public Space, Japanese Garden Philosophy<\/jats:p>","DOI":"10.22501\/rc.4657315","type":"posted-content","created":{"date-parts":[[2026,6,11]],"date-time":"2026-06-11T16:50:09Z","timestamp":1781196609000},"source":"Crossref","is-referenced-by-count":0,"title":["Orientation as Gardening"],"prefix":"10.22501","author":[{"family":"ar","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:33Z","timestamp":1784282193000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4657315\/4657316"}},"issued":{"date-parts":[[2026,6,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4657315","published":{"date-parts":[[2026,6,11]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950922,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T00:00:00Z","timestamp":1740787200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cet article s\u2019appuie sur une approche psychanalytique et culturelle des id\u00e9ologies et de l\u2019\u00e9conomie-politique dans les constructions de v\u00e9rit\u00e9 et les r\u00e9cits autour des lieux et des \u00e9v\u00e9nements concernant les identit\u00e9s ethniques, religieuses et nationales, et propose une opinion interdisciplinaire sur les r\u00e9cits de v\u00e9rit\u00e9 des psycho-r\u00e9alit\u00e9s culturelles form\u00e9es autour des parcs, des lieux monumentaux et des g\u00e9nocides en Turquie. Cette opinion porte sur le complexe, le concours du profane et du sacr\u00e9, pour lequel l\u2019article pr\u00e9sente une interpr\u00e9tation d\u00e9taill\u00e9e du mat\u00e9riel\/mondain et du religieux\/au-del\u00e0. Les sympt\u00f4mes dans les lieux monumentaux en Turquie, parc culturel \u00e0 Izmir et Parc Gezi et Sainte-Sophie \u00e0 Istanbul, r\u00e9v\u00e8lent les mythes inhabituels encod\u00e9s dans ces lieux, g\u00e9nocides, complexes et leurs liens avec les textes culturels d\u2019aujourd\u2019hui. Le r\u00e9seau de la r\u00e9alit\u00e9 informe les sympt\u00f4mes conscients et inconscients autour des parcs, des mus\u00e9es, des places ou des lieux monumentaux en Turquie et au-del\u00e0.<\/jats:p>\n keywords: Turquie, complexes psychanalytiques<\/jats:p>","DOI":"10.22501\/rc.3462901","type":"posted-content","created":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T13:46:51Z","timestamp":1740836811000},"source":"Crossref","is-referenced-by-count":0,"title":["Concours entre la S\u00e9culaire et le Sacr\u00e9 dans le Patrimoine Culturel en Turquie"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:20Z","timestamp":1784282300000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3462901\/3462900"}},"issued":{"date-parts":[[2025,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3462901","published":{"date-parts":[[2025,3,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:28Z","timestamp":1784369008957,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2023,10,23]],"date-time":"2023-10-23T00:00:00Z","timestamp":1698019200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2023,10,23]]},"abstract":"D\u00f6d \u00e5t v\u00e4lf\u00e4rdsstaten (Death to the Welfare State) was a theatre performance for actors, dancers, and musicians that dealt with a concern that the welfare system in Sweden was about to be dismantled. To explore this worry political speeches were superimposed with a narrative inspired by George Orwell\u2019s novel Animal Farm to examine how perceptions of welfare in Sweden have changed from the early 1900s to the present. This artistic research exposition elaborates on the process of developing the theatre piece. It unpacks how the relation between discourse and narrative informed the text and music, and how it allowed for a dramaturgical structure that included all the various performative elements and artistic expressions. Furthermore, the exposition discusses how the performance was composed through a collaboration that was characterised by an open-ended dialogue between the artists and how this enabled distributed decision making, as well as artists performing in other ways than they are used to. The exposition explores the open format of Research Catalogue. Through text and video documentation it builds on the dramaturgical structure of the performance itself: an introduction, five parts and an epilogue. The ambition of the exposition has been to make yet another iteration of the performance.<\/jats:p>\n keywords: performing arts, music theater, composition, Choreography, politic history, staging<\/jats:p>","DOI":"10.22501\/vis.1837695","type":"journal-article","created":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T10:07:40Z","timestamp":1697796460000},"source":"Crossref","is-referenced-by-count":0,"title":["Death to the Welfare State: An Exposition on Political Discourse and Artistic Collaboration"],"prefix":"10.22501","author":[{"family":"Kent G R Olofsson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"J\u00f6rgen Dahlqvist","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:10:03Z","timestamp":1784365803000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1837695\/1843211"}},"issued":{"date-parts":[[2023,10,23]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/vis.1837695","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2023,10,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:09:01Z","timestamp":1784286541448,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2014,9,4]],"date-time":"2014-09-04T00:00:00Z","timestamp":1409788800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,4]]},"abstract":"Name: Nuno Galego Marques Atalaia RodriguesMain Subject: RecorderResearch Coaches: Paul Scheepers and Rebecca StewartTitle of Research: Ganassi as researcher, Practice based research and new horizons for HIPResearch Question: What changes when I start reading treatises of the past as the result of a practice based research not unlike my own?Research process: The following questions have guided my research and relationship with the XVII century recorder treatise La Fontegara: Was Ganassi an artistic researcher? Can his 1535 treatise, La Fontegara, be thought of as the result of sixteenth century practice based research? What will change in our relationship to documents of the past once we look at them as analogous to our own artistic concerns? What could this understanding of artistic research as a trans-historic event mean for Early Music in particular?My research and thesis leads me to a close reading of Ganassi\u2019s recorder and diminution treatise La Fontegara, trying to go beyond the text and its possible literal meanings and tracing the lost instrumental practice of diminution. With this first treatise of its kind, Ganassi inaugurates an age of instrumental literacy, which has irrevocably shaped our perception of musical practice.By linking the document to its biographical, social, theoretical and practical roots I try to sketch out the possible influences and projects (both political and artistic), which took part in making this work possible, helping to understand the trans-historic significance of research in defining a place for the artist within broader society. Also, I take the chance to reflect how this critical intimacy I establish with the work changes the very core of my identity as a recorder player by shaping my practice as a dialogue with a distant and mostly silent past.Summary of Results: The goal of this research is to stress the importance of research in the arts in redefining the role of the musician within society and of opening up a new wave of debate with which to vitalize the historically informed performance movement. Ganassi\u2019s La Fontegara is a document that holds a far greater importance than that of a simple recorder tutor, which positioned it as the first document in the project of emancipation of instrumentalists and their music. Furthermore, the document should be seen as a vital part of the XVII century propaganda project of diffusing the myth of Venice through its use of speculative music tropes such as the theory of proportions. FInally, I wish to rethink our present relationship to these documents as performers. They were not musical cookbooks but rather crystallizations of a continuous struggle between the performer\u2019s knowledge and his need to describe it. To read La Fontegara, is to go beyond the treatise and speculate on the oral practice from which it stems.<\/jats:p>\n keywords: recorder, music history, artistic research, La Fontegara<\/jats:p>","DOI":"10.22501\/koncon.88835","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:50:04Z","timestamp":1725907804000},"source":"Crossref","is-referenced-by-count":0,"title":["Fontegara as researcher"],"prefix":"10.22501","author":[{"family":"Nuno Atalia","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:59:31Z","timestamp":1784285971000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/88835\/88836"}},"issued":{"date-parts":[[2014,9,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.88835","published":{"date-parts":[[2014,9,4]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:24Z","timestamp":1784369064190,"version":"3.55.0"},"posted":{"date-parts":[[2025,4,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T00:00:00Z","timestamp":1745280000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Can an acoustic grand piano be sonically and conceptually reimagined so as to re-negotiate its foundational assumptions around tuning and timbre? Why should the piano continue to be so accustomed to only one tuning system? In contrast, how can \u201cpure sounds\u201d (ratios found in the harmonic series) co-exist with ethnically diverse microtonal tunings? Spanning a period from 2020-2022, \u201cUnburying, from Liminals, Emerging\u201d explores a microtonal prepared piano in three artistic contexts. These include: a solo project called \u201cPostcards of Nostalgia; a chamber ensemble consisting of saxophone trio, percussion and piano; and a \u201cpercussion ensemble with soprano saxophone called Juniper Fuse. Dialoging with a newly invented tuning system, what emergent properties might we find when magnetic piano preparations are used to evoke specific timbral effects from Balinese Gamelan and Indian Karnatik music? Collectively, how can this expanded notion of \u201cpiano\u201d merge with\u00a0spatialization\u00a0to facilitate\u00a0interactive experiences\u00a0for audiences? How might a process-oriented Jungian-inspired dream work communicate itself so as to distill and coalesce a fertile musical landscape?<\/jats:p>\n keywords: piano, solo performance, solo improvisation, solowork, improvisation, improvised music, composition, composer as performer, compositional processes, prepared piano, tuning, tuning system, microtonal music, Microtonality, Microtonal system, gamelan, Karnatik Music, Carnatic, Jung, juniper, psychology, spatialisation, spatialization, recording, extended techniques, extended instrument, Multiculturalism, chamber ensemble, acoustic, liminality, liminal experiences, Liminal Space, dreams, dreaming, dreamwork, music, Transducer, magnetism, holism, Holistic practice, ecology, drone, rhythm language, rhythm, polyrhythm, groove, jazz, contemporary music, experimental, paintings, Score, interdisciplinary, RMC alumni, RMC<\/jats:p>","DOI":"10.22501\/rmc.1656067","type":"posted-content","created":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T04:42:43Z","timestamp":1745296963000},"source":"Crossref","is-referenced-by-count":0,"title":["Unburying, from Liminals, Emerging: Three Contexts for a Microtonal Prepared Piano"],"prefix":"10.22501","author":[{"family":"Matt Choboter","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:17:33Z","timestamp":1784366253000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1656067\/1666678"}},"issued":{"date-parts":[[2025,4,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rmc.1656067","published":{"date-parts":[[2025,4,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:27Z","timestamp":1784286267425,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2017,4,27]],"date-time":"2017-04-27T00:00:00Z","timestamp":1493251200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,4,27]]},"abstract":"This exposition examines my recent multi-channel sound composition 'Decomposing Landscape' (2015), inquiring into the complex, nebulous, and evolving relationship between sound and site that is thoroughly challenged in the practice of phonography or field-recording-based sound artworks dealing with environmentally troubled sites. Phonography-based compositions and sound artworks are developed through location-aware listening and field recordings made at specific sites and landscapes. The compositional strategy in these works relies on artistic interventions through the intricate processes of field recording and processing of recognisable environmental sounds using multi-channel spatialisation techniques. The artistic transformation renders these sounds into a blurry area between compositional abstraction and a portrayal of their site-based origins. The question is, how much spatial information is retained and how much abstraction is deployed in these sound artworks? A discussion of this work sheds light on some approaches and a methodology of handling site-specific evidence in sound art production.<\/jats:p>\n keywords: sound art, site, field recording, digital mediation, Anthropocene, site-specificity, post-digital, phonography, spatialisation<\/jats:p>","DOI":"10.22501\/jar.281999","type":"journal-article","created":{"date-parts":[[2017,4,20]],"date-time":"2017-04-20T14:44:29Z","timestamp":1492699469000},"source":"Crossref","is-referenced-by-count":0,"title":["Talking field: listening to the troubled site"],"prefix":"10.22501","author":[{"family":"Budhaditya Chattopadhyay","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:12:02Z","timestamp":1784283122000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/281999\/282000"}},"issued":{"date-parts":[[2017,4,27]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/jar.281999","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2017,4,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:45Z","timestamp":1784286345993,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,5,16]],"date-time":"2023-05-16T00:00:00Z","timestamp":1684195200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,16]]},"abstract":"This research develops a simplification of a graphical resource: the International Phonetic Alphabet. The choices made to simplify it are based on an analysis of existing diction methods. The thesis format seemed most suitable for my research, as the IPA is a graphical notation method which is meant to be used by writing it down. (While it is of course used to notate sounds, these sounds themselves are not actually the focus of the research. There are also already an abundance of audio examples for the IPA symbols.)The IPA can be a very useful aid for classical singers, from ensemble singers to soloists, but appears intimidating from the amount of symbols it has. This research looks at which IPA symbols are used and which are not used in five different diction methods for classical singers. These are systematically analysed and presented graphically to the reader to help visualise which of all the symbols presented on the IPA chart are regularly used by singers. The end result is practical in nature: a Simple IPA chart which uses only those symbols a classical singer really needs to sing the five main languages for classical singing: English, French, German, Italian and Latin.<\/jats:p>\n keywords: choir, choir singing, classical singing, classical singer, Composer, Language, notation, singing, diction, international phonetic alphabet, IPA, phonemes, phonetic transcription, pronunciation<\/jats:p>","DOI":"10.22501\/koncon.1967201","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:19Z","timestamp":1725907039000},"source":"Crossref","is-referenced-by-count":0,"title":["Making a simple International Phonetic Alphabet (IPA)\u2014For singers, conductors and composers"],"prefix":"10.22501","author":[{"family":"Bas Ammerlaan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:32:01Z","timestamp":1784284321000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1967201\/1967202"}},"issued":{"date-parts":[[2023,5,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1967201","published":{"date-parts":[[2023,5,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:28Z","timestamp":1784286448686,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,5,25]],"date-time":"2020-05-25T00:00:00Z","timestamp":1590364800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,5,25]]},"abstract":"As a harpsichordist and HIP performer, I was so fascinated with 16th-century keyboard tablature notation on my first encounter some years ago. Since then, I have been inspired to explore playing from original notation as part of my HIP training. This research is a big part of this artistic endeavor, addressing 16th-century keyboard tablature notation from Spanish and German sources and finding answers for what it is, why it was invented, why it is not in practice today, and how one may bring it back to practice. At the beginning stages of this exploration, I noticed that keyboard tablature was not really in practice as performance notation in the current HIP dialogue. I wanted to investigate why and, through this thesis, present it as a relevant, stimulating topic. This research presents historical and theoretical analysis of this notation and the results of an extensive systematic experiment-survey I devised and conducted with 32 non-musicians and musicians of all levels. Personally, the contents of this thesis have greatly deepened my understanding of historical performance of keyboard music in the 16th century and enriched my experience as an Early Music performer.<\/jats:p>\n keywords: harpsichord, 16th century, notation, early music performance, Art of Interpretation<\/jats:p>","DOI":"10.22501\/koncon.532888","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:41:50Z","timestamp":1725907310000},"source":"Crossref","is-referenced-by-count":0,"title":["16th-Century Keyboard Tablature as Performance Notation"],"prefix":"10.22501","author":[{"family":"Christina Kwon","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:43:29Z","timestamp":1784285009000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/532888\/753136"}},"issued":{"date-parts":[[2020,5,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.532888","published":{"date-parts":[[2020,5,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:54Z","timestamp":1784289834940,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2018,3,16]],"date-time":"2018-03-16T00:00:00Z","timestamp":1521158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"Situated within a new materialist philosophical framework and inspired by its posthumanistic, postdualistic, and affirmative orientation, this article looks at instances of geoart, understanding it in terms of intra-active knowledge production processes. I look specifically at the artistic projects by Jim Denevan and, by doing so, I intend to examine the concept of a non-academic artistic practice with an aim of exposing that a detailed inspection of the processes involved in the artistic production sheds an altogether different light on the nature of all research practices. As such, it lets us engage more thoroughly with the \u201chow-question\u201d of generating knowledge, highlighting its processual material-semiotic character. As instantiated in my case studies, an inquiry of different relationalities involved in the process of artistic (knowledge) production enables a study of how subject and object emerge as a result of \u201cintra-activity\u201d (Barad 2007). Using his own body as both a tool and an active corporeal entity merging with the surrounding landscape, a geoartist Jim Denevan rhythmically and in a dance-like movement creates ephemeral gigantic drawings on sand, soil, or ice. They emerge out of a dynamic assemblage of the artist\u2019s body (and his tools) and the local geophysical situation (with different sorts of matter or forces present there). The natural environment operates as an agent actively engaged in the whole process of artistic creation\u2014of both making and unmaking of the drawings. When finished by Denevan, his works of art remain dynamic; they are being gradually modified and eventually erased by the undulating waves, tides, gusts of wind, the working of erosion and weathering, until they completely disappear. Focusing on the engagement of the artist with the environment and the random audiences present on site, I want to make clear that such eco-sensitive creation may serve as an illuminating example of what forms the entanglements of art and research could take and what material-semiotic effects such creative activities produce for all actors involved.<\/jats:p>\n keywords: geoart, new materialism, creative practice, knowledge production, art and science, eco-sensitive activism<\/jats:p>","DOI":"10.22501\/ruu.427704","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:34Z","timestamp":1538221774000},"source":"Crossref","is-referenced-by-count":0,"title":["GEOART AS A NEW MATERIALIST PRACTICE. INTRA-ACTIVE BECOMINGS AND ARTISTIC (KNOWLEDGE) PRODUCTION."],"prefix":"10.22501","author":[{"family":"Dorota Golanska","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:16:26Z","timestamp":1784286986000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/427704\/427706"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.427704","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:02Z","timestamp":1784289902298,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T00:00:00Z","timestamp":1679270400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,3,20]]},"abstract":"Barb Macek (PhD candidate and fellow (DOC) of the Austrian Academy of Sciences at the Institute of Fine Arts & Media Arts) takes as her starting point self-reflections and her own experiences with the autoimmune disease SLE. She approaches the phenomenon of autoimmunity in relation to fundamental human ambiguity, following the philosophical anthropology of Helmuth Plessner. Macek\u2019s contribution, \"Exercises in Existential Eccentricity\", explores the bio-philosophical dimension of the disease rather than its bio-medical dimension, showing how autoimmunity raises existential-phenomenological questions regarding bodily ownership, the self, and the notion of the body as \u201cone\u2019s own\u201d. From an assumed embodied diversity, she designs an artistic technique, EEE - Exercises in Existential Eccentricity, drawing on the technique of auto-interviewing, autoethnography and poetics to facilitate a dialogue between different inner voices.<\/jats:p>\n keywords: autoimmunity, artistic research, self-reflexivity, biophilosophy, philosophy, artistic practice, autoethnography, Poetic writing, Poetic Research, philosophical anthropology, poetry<\/jats:p>","DOI":"10.22501\/repos.1840999","type":"journal-article","created":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T06:35:16Z","timestamp":1679294116000},"source":"Crossref","is-referenced-by-count":0,"title":["Exercises in Existential Eccentricity. Conceptualising autoimmunity as a variation of the conditio humana"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-7376-199X","authenticated-orcid":false,"family":"Barbara Macek","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:26:59Z","timestamp":1784287619000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1840999\/1841000"}},"issued":{"date-parts":[[2023,3,20]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/repos.1840999","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2023,3,20]]}},{"indexed":{"date-parts":[[2026,8,4]],"date-time":"2026-08-04T13:04:52Z","timestamp":1785848692829,"version":"3.56.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2012,11,5]],"date-time":"2012-11-05T00:00:00Z","timestamp":1352073600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2012,11,5]]},"abstract":"This work combines the results of an online survey about the experience of acting with interviews of many of the respondents to explore how actors describe the relationship between the character they portray in performance and their non-character selves. It also explores the role of emotion in this relationship.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.15971","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T04:48:40Z","timestamp":1492404520000},"source":"Crossref","is-referenced-by-count":1,"title":["Actor Self vs. Character Self: An Empirical Exploration"],"prefix":"10.22501","author":[{"family":"E. T. Hetzler","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:18:41Z","timestamp":1784283521000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/15971\/15972"}},"issued":{"date-parts":[[2012,11,5]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/jar.15971","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2012,11,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984509,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Fourtoni is an Augmented Reality sculpture that makes use of audience eye tracking data in order to recreate a fourth Triton from the existing three tritons in Vincent Apap\u2019s Triton Fountain located in Triton Square, Valletta. The virtual sculpture was launched on an Android platform on the 28th of September 2018 as part of the Science in the City Festival 2018. Fourtoni is a collaboration between Matthew Attard and Matthew Galea from the Department of Digital Arts, together with Dr Vanessa Camilleri from the Department of Artificial Intelligence. The virtual sculpture\u2019s content was driven by research concerning the combination of the cortical homunculus representation of our body in our brain, and eye-tracking results involving free gazing.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4228508","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T11:01:11Z","timestamp":1774436471000},"source":"Crossref","is-referenced-by-count":0,"title":["Fourtoni Project"],"prefix":"10.22501","author":[{"family":"Matthew Galea; Matthew Attard","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:55Z","timestamp":1784282215000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4228508\/4228509"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4228508","published":{"date-parts":[[2026,3,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:53Z","timestamp":1784290073895,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2017,12,14]],"date-time":"2017-12-14T00:00:00Z","timestamp":1513209600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,12,14]]},"abstract":"Imagine for a moment that we engage with early-music manuscripts only through inspection of the musical text, without any attempt to perform it. Imagine again that musicians who perform early music made no attempt to engage with the historical context and performance practice of the past. It is mind-boggling to consider what we would miss if we did not make these attempts through performative artistic research. Can we engage with auditory culture over time by using methods from early-music performance practice to create soundscape? Will the process and product of creating a historically informed soundscape provoke new conversations and generate a new type of knowledge to engage both scholars of auditory culture and audiences?\u00a0We want to complement scholarly narratives that seek to better understand the sounds of the past beyond music itself by borrowing methods and models from early-music performance and adapting them to create historically informed soundscape.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.408710","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:19Z","timestamp":1733131639000},"source":"Crossref","is-referenced-by-count":1,"title":["Historically Informed Soundscape: Mediating Past and Present"],"prefix":"10.22501","author":[{"family":"D. Linda Pearse","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:46:06Z","timestamp":1784288766000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/408710\/408711"}},"issued":{"date-parts":[[2017,12,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jss.408710","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2017,12,14]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:12Z","timestamp":1784368992066,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"Welcome to Galaxy Revolution, the space station of Historical Spiritual Vibrations space agency. At the station you can access training sessions and game instructions we use to imagine training and healing practices for the new space race. You can experience glimpses of our space journeys and learn more of the history of the tools and knowledge we bring with us on our missions. Dock at our space station and (mis)use our methods to reshape and imagine the past, present, and future in your own way. The exposition gathers documentation of Whyte&Zettergren's live actions and ritual practices at locations in Iceland where the Apollo 11 astronauts trained for their journey to the Moon. It also includes infrared imagery, a technology used in space visualization to capture light waves invisible to the human eye, recorded during the duo\u2019s space journeys. The duo explores space both as a site where future colonial projects are planned and as a fictional realm for imagining alternative worlds.In their work, Zettergren's speculative technofeminism and Whyte's ritual dubfuturism intersect. Practices that reshape futures in various ways; through an intersectional feminist and technocritical lens, and through the experimental remixing of history, ritual, and rhythm in dub culture. When the present feels dystopian, dreams of life in space become a way to envision change, a transformation of the world through imagination, whose echoes vibrate into the future.<\/jats:p>\n keywords: Futurism, space race, collective research in arts, dreaming, resilience, Speculative Feminism, Dubfuturism, speculative fiction, performance, Infrared video, Reimagining, Alternative worlds, Ritul healing practices, ritual<\/jats:p>","DOI":"10.22501\/vis.2813155","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T17:35:31Z","timestamp":1742232931000},"source":"Crossref","is-referenced-by-count":0,"title":["Galaxy Revolution \u2013 Space travel as a tool for reimagining"],"prefix":"10.22501","author":[{"family":"Whyte&Zettergren","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Olando Whyte","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:07:59Z","timestamp":1784365679000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2813155\/2836842\/151\/444"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2813155","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:57Z","timestamp":1784286537090,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,30]]},"abstract":"This exposition takes as its departure the systemic inertia identified within Western Higher Music Education (HME), where education is driven by skill acquisition in a master\u2013pupil format. Such approaches may hinder the growth of adaptable and reflective musicians. We propose an alternative: student-centred learning inspired by artistic research methods. To explicate this, we draw on findings through our own artistic research practices. Our hypothesis is that the model of the artistic, embodied research laboratory, as developed within the field of artistic research, may serve as a potent tool for renewal. By analysing our work as artist-researchers and educators, this exposition offers insights that support rethinking both institutional structures and pedagogical approaches in HME. Our aim is to strengthen student agency in learning situations and set them off on a path of lifelong learning. This research demonstrates that artistic research laboratories can provide practical frameworks for transforming HME pedagogy, offering educators concrete methods for fostering playful, inclusive, and sustainable learning environments whilst empowering students as active agents in their musical development.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.3070015","type":"journal-article","created":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:44:08Z","timestamp":1767095048000},"source":"Crossref","is-referenced-by-count":0,"title":["Sharing (in) the Lab: Artistic research in Higher Music Education"],"prefix":"10.22501","author":[{"family":"Halla Steinunn Stef\u00e1nsd\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ann Elkj\u00e4r","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Markus Tullberg","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Stefan \u00d6stersj\u00f6","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:02:07Z","timestamp":1784286127000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3070015\/3070016"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3070015","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2025,12,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:29Z","timestamp":1784282969129,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"36","license":[{"start":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T00:00:00Z","timestamp":1761609600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,28]]},"abstract":"In this exposition, I explore my artistic practice based on collaborations between female folk singers in Finland and Bulgaria from 2018 to 2022. The artistic material of the exposition consists of a music video trilogy (2019, 2020 and 2022) based on my compositions and arrangements in the solo album Nani (2020), produced in cooperation with the younger generation of the Bulgarian women's choir, Le Myst\u00e8re des Voix Bulgares. In addition to the collaborative artistic practice, I interviewed six of the Bulgarian singers. Insights from the data gathered in these ethnographic interviews are intertwined with the analysis of the artistic practice. Throughout the artistic and ethnographic research processes, I applied a feminist intersectional pedagogical approach by focusing particularly on the power relations and the question of female agency in the arts and wider society. In this exposition, I argue that the incorporation of intersectional feminist perspectives in transnational artistic work can contribute to both artistic practice and transnational interactions in ways that may strengthen women's agency in the folk music field of their respective cultural and social environments. Feminist folk music composition was applied at all stages of the artistic and research work. By highlighting the stories, voices, and bodies of women of different ages and cultural locations, the artistic practice represented the construction of counter-myths and transgenerationality. In addition, an intersectional feminist approach helped to identify the power relations involved in transnational collaboration, particularly regarding economic inequality and the roles and different opportunities of women musicians in Finland and Bulgaria.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"download-media?work=3955500&file=3955515\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/span><\/jats:p>\n keywords: feminist folk music composing, Finno-Karelian folk singing, Bulgarian folk singing, transnationalism, intersectional feminism, The Mystery of the Bulgarian Voices<\/jats:p>","DOI":"10.22501\/jar.2038366","type":"journal-article","created":{"date-parts":[[2025,10,28]],"date-time":"2025-10-28T15:29:36Z","timestamp":1761665376000},"source":"Crossref","is-referenced-by-count":0,"title":["Becoming a Goddess in a Music Video Trilogy: Applying Intersectional Feminism in a Transnational Folk Singing Collaboration in Finland and Bulgaria"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-8254-8541","authenticated-orcid":false,"family":"Emmi Kujanp\u00e4\u00e4","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:41Z","timestamp":1784282201000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2038366\/2038367"}},"issued":{"date-parts":[[2025,10,28]]},"references-count":0,"journal-issue":{"issue":"36"},"URL":"https:\/\/doi.org\/10.22501\/jar.2038366","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2025,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:09Z","timestamp":1784289849191,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2015,7,2]],"date-time":"2015-07-02T00:00:00Z","timestamp":1435795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2015,7,2]]},"abstract":"Based upon the work with the chamber opera Ps. Jag kommer snart hem! (Eng. Ps. I will be home soon!), this presentation aims at describing the working process towards a new musical work, as it takes place in the setting of exploratory workshops. Drawing upon observations and conversations, benefits and challenges are brought forward and discussed through the use of examples. An over-arching concept of calibration is presented; the work in focus housed calibration on at least two different levels: calibration towards the work and calibration within the work. As the article concludes, this process is of great artistic value and may also assist in facilitating for the commissioner, and possibly in extension, the presumed audience of a new musical work.<\/jats:p>\n keywords: exploratory workshops, chamber opera, artistic research, composition, new musical works, artistic method, calibration, commissioning, collaboration<\/jats:p>","DOI":"10.22501\/ruu.142373","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:23Z","timestamp":1503635063000},"source":"Crossref","is-referenced-by-count":0,"title":["We Can Work It Out - Calibration as Artistic Method"],"prefix":"10.22501","author":[{"family":"Anna Einarsson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:20:07Z","timestamp":1784287207000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/142373\/142374"}},"issued":{"date-parts":[[2015,7,2]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/ruu.142373","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2015,7,2]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:49Z","timestamp":1784369029349,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2021,10,19]],"date-time":"2021-10-19T00:00:00Z","timestamp":1634601600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,10,19]]},"abstract":"What is the nature of human touch and human contact in contemporary music performance, both in general and in the context of the COVID-19 pandemic? In a time when bodies must be kept at several meters distance, what comes of works which explicitly call for closeness, physical contact, and sharing? How might these works be interpreted differently in light of the COVID-19 pandemic? Percussionist and performer Jennifer Torrence reflects on the impact of the pandemic on her artistic practice and on her research as part of the project entitled Performing Precarity, which seeks to explore the inherent risks in performance when musicians and audiences are entangled in codependent structures. In light of COVID-19, this exposition attempts to unfold and trace modes of vulnerability in contemporary music performance\u2014from human contact via eye contact and physical touch, to the precarious negotiation of shared space\u2014and to reflect on how such encounters might breed new understandings and knowledge.<\/jats:p>\n keywords: Vulnerability, Covid, Corona, Touch, Performance, Entanglement, Sight, Sound, Communication, Music, contemporary music, new musical works, new music, precarious, proximity, listening, Energy, percussion, entanglement, discomfort, contagion, crisis, senses<\/jats:p>","DOI":"10.22501\/vis.1040522","type":"journal-article","created":{"date-parts":[[2021,10,19]],"date-time":"2021-10-19T05:12:04Z","timestamp":1634620324000},"source":"Crossref","is-referenced-by-count":0,"title":["Soft to the Touch: Performance, Vulnerability, and Entanglement in the Time of Covid"],"prefix":"10.22501","author":[{"family":"Jennifer Torrence","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:12:56Z","timestamp":1784365976000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1040522\/1040523"}},"issued":{"date-parts":[[2021,10,19]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/vis.1040522","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2021,10,19]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:53Z","timestamp":1784368973010,"version":"3.55.0"},"posted":{"date-parts":[[2018,4,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2018,4,8]],"date-time":"2018-04-08T00:00:00Z","timestamp":1523145600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The language of art is often poetic and abstract. Reduced and lawless in terms of grammar. I experience the poetic and abstract language as closer to the experienced world than the more concrete and descriptive language that is the norm in the majority of formulations in society. In my artistic practice at the moment, I work with color, movement and time. In the video medium. To say that art is a language is also an assertion, or a worn metaphor. We have no written language rules we agree upon in the arts, no defined alphabet. And maybe that's exactly what the making of art is? Creating form, while challenging form? Being the practitioner, and in that sense defining, in a landscape of concrete and abstract, in definite and indefinite and fluid and solid.To create while shaping the form of it, is something else than performing within a given formation.This contribution to a digital catalogue for artistic research are selections of my work, and thoughts, related to it translated into pieces of texts.Some pieces of text along with some video pieces as well as a print from a video, a so-called 'still'. They are selected to function in different constellations, and for several reasons. A collage as a method and a way to relate to my own work, and with the selection, emphasizes the content of the texts. I apply my own thesis discussed in the text upon my contribution 'here' *. My contribution appears in Vis \u2013 Nordic Journal for Artistic Research. The digital is representation. It is not. It is equally important to me that this contributed in form acknowledges that making a presence in an internet-based database is not without hyperlinks. It appears because the other is.* Where is 'here', what is 'here'?(Video and video with sound.) The visual material in this exposition is from the videos 'La ditt liv vitne'(2017), 'Essay on Colour'(2017) and Perceptual Cycle (2016). By Anne Marthe Dyvi.<\/jats:p>\n keywords: kunst, art, Dyvi, Anne Marthe Dyvi, Media Arts, Contemporary art, Bergen, Norway, Video art, time based media, time, immateriality, light, artistic research<\/jats:p>","DOI":"10.22501\/vis.392748","type":"posted-content","created":{"date-parts":[[2018,5,5]],"date-time":"2018-05-05T04:52:58Z","timestamp":1525495978000},"source":"Crossref","is-referenced-by-count":0,"title":["This is not \/ Dette er ikke"],"prefix":"10.22501","author":[{"family":"Anne Marthe Dyvi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:05:38Z","timestamp":1784365538000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/392748\/392749\/192\/50"}},"issued":{"date-parts":[[2018,4,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/vis.392748","published":{"date-parts":[[2018,4,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:01Z","timestamp":1784290021310,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"03","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This article conducts an examination of the connections between the fantasy user interfaces (FUIs) of computers in the television shows 24 and CSI and the sounds that they emit. The resulting sense of computational activity produces what might be characterized as a digital subjectivity. The significance of this kind of subjectivity is considered in relation to: the historical context of contemporary television\/cinema (\u2018TVIII\u2019); the apparently cybernetic tendencies of complex screen environments; and the political ramifications of a logic of computation. The competing claims of the sound and the image to be the prior, determining factor are discussed. It becomes clear that the distinction between what constitutes information and what constitutes noise (audio and non-informational) is a key problematic both within the screen narratives in question and in the broader media environment that they occupy.<\/jats:p>\n keywords: TVIII, CSI (Crime Scene Investigation), 24, Fantasy User Interfaces (FUIs), Noise, information, computation, digital subjectivity<\/jats:p>","DOI":"10.22501\/jss.251878","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:55Z","timestamp":1733131555000},"source":"Crossref","is-referenced-by-count":0,"title":["The Hiss of Data"],"prefix":"10.22501","author":[{"family":"Cormac Deane","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:43:16Z","timestamp":1784288596000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/251878\/251879"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"03"},"URL":"https:\/\/doi.org\/10.22501\/jss.251878","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:56Z","timestamp":1784286416293,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,5,26]],"date-time":"2023-05-26T00:00:00Z","timestamp":1685059200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,26]]},"abstract":"Mercadante\u2019s flute works are among the most beloved 19th-century Italian compositions for this instrument. So far, no study has been undertaken to develop a specific historically informed performance practice for them.In order to do so, I first analysed the Italian flute history in the first half of the 19th century, which revealed a great influence of foreign instruments and methods on local flute makers and players; secondly, I studied the Neapolitan flute school during Mercadante\u2019s lifetime (1795-1870) and discovered which instruments were in use, which methods were kept at the Conservatory Library, and who were the most successful contemporary players. Finally, I focused on Mercadante\u2019s biography and created a detailed catalogue of his flute works, which includes bibliographical indications of manuscripts and editions, musicological details and historical notes (when available). This process revealed that the greatest part of such pieces was composed between 1813 and 1820, that is, while he was studying at the Neapolitan Conservatory.Once my theoretical investigations were completed, I approached the practical part of my research by following the performance practice instructions of Hugot-Wunderlich\u2019s flute method, whose French original edition is kept in the Conservatory library since Mercadante\u2019s study years. However, an important detail that I discovered at this research stage forced me at once to discard my entire methodological process. This true operatic plot twist - dramatic and yet funny - turned my thesis into a dramma buffo. It forced me to completely rethink my methodology and even what the concept of \u201chistorically informed\u201d means to me.<\/jats:p>\n keywords: 19th century, Art of Interpretation, traverso, historically informed performance<\/jats:p>","DOI":"10.22501\/koncon.1956467","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:10Z","timestamp":1725907030000},"source":"Crossref","is-referenced-by-count":0,"title":["Saverio Mercadante and the Neapolitan flute school of the early 19th century. A dramma buffo on the historically informed approach"],"prefix":"10.22501","author":[{"family":"Enrico Coden","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:31:32Z","timestamp":1784284292000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1956467\/1961070"}},"issued":{"date-parts":[[2023,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1956467","published":{"date-parts":[[2023,5,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936928,"version":"3.55.0"},"posted":{"date-parts":[[2025,5,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T00:00:00Z","timestamp":1747612800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abbildungen und Medien zur Dissertation<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3107111","type":"posted-content","created":{"date-parts":[[2025,5,19]],"date-time":"2025-05-19T01:45:54Z","timestamp":1747619154000},"source":"Crossref","is-referenced-by-count":0,"title":["Vermehrstimmigen als kontemplative Praxis - Dokumentationsteil"],"prefix":"10.22501","author":[{"family":"Jakob Stillmark","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:07Z","timestamp":1784282287000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3107111\/3107112"}},"issued":{"date-parts":[[2025,5,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3107111","published":{"date-parts":[[2025,5,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995535,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatiotemporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The notion of futures post the pandemic became iffy, hazy, and cloudy. One's decisions were purely dictated by the transmission of the virus globally.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1281761","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T02:53:48Z","timestamp":1622688828000},"source":"Crossref","is-referenced-by-count":0,"title":["UNCERTAIN FUTURES"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:10Z","timestamp":1784282410000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1281761\/1281762"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1281761","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:57Z","timestamp":1784289837077,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2018,3,16]],"date-time":"2018-03-16T00:00:00Z","timestamp":1521158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"In this exposition I present a cluster of works with regard to their subtle interconnections, often not consciously constructed or intended in any particular ways at the time of their conception. The afterlife of these works, however, enact aesthetic intra-actions of their ensemble. Shedding light on some parts of this cavernous network of pressing matters I make an attempt of explicating the ways in which artistic thinking might get \"diffracted\" into many part-processes that are both divergent and entangled. In the course of my presentation, I try to be sensitive towards the fact that these strings of thinking are distributed in a complex manner across the divide of sensibility and intelligibility. In terms of the chosen approach this implies avoiding the use of discursive explanations as the main medium of explication. This \"method\", if it can be formalized as one, involves priorizing the material circumstances of particular articulations, both verbal and non-verbal, over content-oriented gestures of translation.<\/jats:p>\n keywords: Agential realism, agential cut, allegory, afterlife, gestures, Barad, Benjamin, VIDEO, PHOTOGRAPHY, drawing, Painting, intra-action<\/jats:p>","DOI":"10.22501\/ruu.229280","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:43Z","timestamp":1538221783000},"source":"Crossref","is-referenced-by-count":0,"title":["Some works and their afterlife"],"prefix":"10.22501","author":[{"family":"Mika Elo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:16:43Z","timestamp":1784287003000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/229280\/229522"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.229280","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:42Z","timestamp":1784282982771,"version":"3.55.0"},"posted":{"date-parts":[[2024,10,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,10,30]],"date-time":"2024-10-30T00:00:00Z","timestamp":1730246400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition contains bonus material (audio-visual) on the doctoral project \"To Start from Scratch\" by Karl Salzmann (ARC - Artistic Research Center, University of Music and performing Arts in Vienna, Austria, 2024).It presents a selection of documented artistic works, prototypes, performances and materials developed during the research process.<\/jats:p>\n keywords: sound, sound art, Turntablism, record player<\/jats:p>","DOI":"10.22501\/rc.2637447","type":"posted-content","created":{"date-parts":[[2024,10,30]],"date-time":"2024-10-30T16:23:56Z","timestamp":1730305436000},"source":"Crossref","is-referenced-by-count":0,"title":["Bonus materials: To Start from Scratch"],"prefix":"10.22501","author":[{"family":"Karl Salzmann","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:33Z","timestamp":1784282313000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2637447\/2637461"}},"issued":{"date-parts":[[2024,10,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2637447","published":{"date-parts":[[2024,10,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:48Z","timestamp":1784282988995,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"35","license":[{"start":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T00:00:00Z","timestamp":1752537600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,7,15]]},"abstract":"Improvising Time is a practice-led research project investigating embodied temporality in the performance of solo dance improvisation. It explores two temporal concepts in Japanese Noh theatre \u2014 the sequencing concept of jo-ha-ky\u016b \u5e8f\u7834\u6025 and the notion of ma \u9593, defined as interval \u2014 investigating how jo-ha-ky\u016b and ma can be embodied for the temporal organization of solo dance performance when improvised before an audience. Grounded in praxis where theory is imbricated in practice, Noh performance theory is brought into a dynamic interaction with the fundamental theory of time in physics and a phenomenological approach to intersubjectivity. Using a multi-voice dialogic approach as a key methodology, the studio research examines the experience of improvisation from both sides \u2014 as improviser and as watcher \u2014 in collaboration with solo dance practitioner Janette Hoe. The research shows how, in the act of improvising, an embodied temporality of the improviser is created not only by an awareness of embodied processes but also by the potentiality of unknown improvisational material. Culminating in a major project, Solo Dialogue (2021), the research proposes a new framework of embodied temporality offering an insight into how improvisation can be temporally shaped and organized by prioritizing attentiveness and attunement to diversify performance material and enhance the intersubjective experience between improviser and audience.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"download-media?work=3794668&file=3794704\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: solo dance, Noh, jo-ha-ky\u016b, ma, intersubjectivity, riken no ken, granularity, relationality, indeterminacy, improvisation, Performance making, temporality<\/jats:p>","DOI":"10.22501\/jar.2262837","type":"journal-article","created":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T10:52:52Z","timestamp":1752576772000},"source":"Crossref","is-referenced-by-count":0,"title":["Improvising Time: An investigation into the link between time and intersubjectivity in the performance of solo dance improvisation"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-0346-9037","authenticated-orcid":false,"family":"Nareeporn Vachananda","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:32Z","timestamp":1784282252000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2262837\/3678456"}},"issued":{"date-parts":[[2025,7,15]]},"references-count":0,"journal-issue":{"issue":"35"},"URL":"https:\/\/doi.org\/10.22501\/jar.2262837","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2025,7,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:02Z","timestamp":1784283002384,"version":"3.55.0"},"posted":{"date-parts":[[2021,8,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,8,31]],"date-time":"2021-08-31T00:00:00Z","timestamp":1630368000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Die k\u00fcnstlerische Forschungsarbeit \u201aEine Anatomie der Macht\u2018, erforscht ein klassisches sozialarbeiterisches Paradigma, das \u201aMachtgef\u00e4lle\u2018 zwischen, Klient_in und Sozialarbeiter_in, sowie die implizite Machtstruktur sozialarbeiterischer Interventionen, als exemplarische Fragestellung und Anwendungsbeispiel, durch k\u00fcnstlerisch- \u00e4sthetische Mittel. \u00dcber die k\u00fcnstlerische Forschungsarbeit wird das Thema visualisiert und k\u00f6rperlich- sinnlich erfahr- und erforschbar. Die zu Grunde liegende Forschungsfrage lautet: Wie beforsche ich ein Thema oder eine Fragestellung der Sozialen Arbeit \u00fcber \u00e4sthetisch-k\u00fcnstlerische Mittel, und welche Methode l\u00e4sst sich aus den Ergebnissen des exemplarischen Forschungsvorgangs ableiten? Entstanden im Rahmen eines Reflexionsseminars zur professionellen Rolle des\/der Sozialarbeiter_in, des Bachelorstudienganges Soziale Arbeit, beinhaltet das origin\u00e4re Forschungsprojekt der K\u00fcnstlerin, Ans\u00e4tze, welche auch im Kontext Lehre und dem \u201aforschenden Lernen\u2018, partizipative Zugangsm\u00f6glichkeiten erm\u00f6glichen. In dieser Verbindung liegt die Kernhypothese der K\u00fcnstlerin: k\u00fcnstlerische Forschungsdesigns f\u00fcr sozialarbeiterische Fragestellungen nutzbar und partizipativ anwendbar zu machen. Die in der Performance verwendeten Materialien und Objekte k\u00f6nnen als \u201aSprachzeichen\u2018, \u00e4hnlich wie eine \u201a\u00dcbersetzung\u2018 in die sinnlich- erfahrbare Welt, verstanden und analysiert werden. \u00dcber die k\u00fcnstlerischen Handlungen im Forschungsprozess, welche sich methodisch als \u201a\u2018Denken\/Reflektieren in der Kunst\u2018, \u201aImprovisieren und Sammeln\u2018, und \u201aInszenieren\u2018 beschreiben lassen, f\u00fchren eine Analyse und Reflexion zu einer Logik und Eindeutigkeit innerhalb der performativen Erz\u00e4hlung. Die daraus abgeleitete Methode, beschreibt eine \u201aProbenforschung des Sozialen\u2018 und wird im folgenden Forschungsbericht detailliert vorgestellt. Die \u201aStoryline\u2018 der inszenierten performativen Elemente, bietet w\u00e4hrend des Datenerhebungsprozesses, die M\u00f6glichkeit kollektivistisches Wissen, sichtbar und befragbar zu machen, und im angeschlossenen Publikumsgespr\u00e4ch in eine diskursive Form zu \u00fcberf\u00fchren.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1327463","type":"posted-content","created":{"date-parts":[[2021,9,28]],"date-time":"2021-09-28T21:06:48Z","timestamp":1632863208000},"source":"Crossref","is-referenced-by-count":0,"title":["Angela Ramette"],"prefix":"10.22501","author":[{"family":"Angela Ramette","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:02Z","timestamp":1784282402000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1327463\/1327462"}},"issued":{"date-parts":[[2021,8,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1327463","published":{"date-parts":[[2021,8,31]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:19Z","timestamp":1784283019581,"version":"3.55.0"},"posted":{"date-parts":[[2024,10,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Although the bass guitar is a relatively young instrument compared to most other chordophones, its performance has often been confined by tradition, following near-dogmatic conventions of \u2018what\u2019 and \u2018how\u2019 to play. At the core of these tenets is its monophonic accompaniment role, primarily articulating melodic lines in the low-frequency range with rhythmic patterns. Portfolio presents eight compositions that explore the bass guitar beyond this paradigm. These original solo pieces are outputs of an artistic research thesis and constitute a thematic album centered on a polyphonic approach to the bass guitar.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3089084","type":"posted-content","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T15:54:26Z","timestamp":1730217266000},"source":"Crossref","is-referenced-by-count":0,"title":["Portfolio"],"prefix":"10.22501","author":[{"family":"Fausto Lessa","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:34Z","timestamp":1784282314000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3089084\/3089085"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3089084","published":{"date-parts":[[2024,10,29]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:09Z","timestamp":1784286309768,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T00:00:00Z","timestamp":1748563200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,30]]},"abstract":"Throughout our musical history, many female composers\u2019 figures and legacies have always remained overshadowed in the male-dominated realm of 19th- and 20th-century music. Eugenia S. Osterberger (1852\u20131932) is one of them: a remarkable and overlooked Galician composer who blended Galician and Spanish traditional music with European academic styles. This research aims to shed light on Osterberger's life and work by performing her compositions with my instrument addressing the central question: \u201cHow can I share it engagingly with the audience?\u201d. To carry out this project, the methodology involves a literature review of Eugenia\u2019s context, story, and compositions; archive fieldwork to find the scores; the process of arranging and adapting her music for oboe or English horn; identification of Galician and Spanish folklore footprints and other styles in her pieces; and revision of tools for engaging audience. The culmination of this research will be to have all the essential tools to be able to create a performance that combines narration and music to bring Osterberger's legacy to life, making the audience enjoy and connect with my emotional engagement and with the composer. In addition, it is intended to make a new contribution to the repertoire for oboe and English horn and raise awareness of under-represented voices in music history, which may inspire others to rediscover forgotten composers.<\/jats:p>\n keywords: oboe, woman composer, Galicia, arrangements, traditional music, romanticism, English horn<\/jats:p>","DOI":"10.22501\/koncon.3194534","type":"journal-article","created":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T10:20:55Z","timestamp":1748600455000},"source":"Crossref","is-referenced-by-count":0,"title":["The figure of Eugenia Osterberger, the forgotten Galician romantic composer"],"prefix":"10.22501","author":[{"family":"Mari\u00f1a Palacio Fern\u00e1ndez","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:24:18Z","timestamp":1784283858000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3194534\/3194535"}},"issued":{"date-parts":[[2025,5,30]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3194534","published":{"date-parts":[[2025,5,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:30Z","timestamp":1784286210723,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","license":[{"start":{"date-parts":[[2021,5,23]],"date-time":"2021-05-23T00:00:00Z","timestamp":1621728000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,5,23]]},"abstract":"Absurd (derived from surdus, or deaf, in Latin): that which cannot be heard or is contradictory to reason.This artistic research project questions the ways we work with sound, using a methodology derived from the absurd as a tool for innovation. The scientific roots of sound as a physical phenomenon are rarely disputed, whether by sound artists, sound designers, sound technicians, or even composers. Yet this trust in the knowledge built by acousticians, so complex and yet so simple as it mostly limits the characteristics of sound to amplitude, pitch, timbre, and envelope, might lead to an incapacity to look any other way. Have we missed, as artists, the opportunity to question the underlying axioms beneath the science of sound? This research uses a method based on the rejection \u2014 or, better, a questioning \u2014 of established rules and ideas (e.g., \u2018what if silence were a building tool with which we carved music and sounds into blocks of noise?\u2019), followed by a series of logical developments until some new technique, idea, or even form of art emerges. Such a method somehow adopts the principles behind conspiracy theories and applies them to art: absurd premises followed by logical developments. The present exposition develops a set of three case studies built between 2017 and 2020, each one answering its own absurd question: the harvesting of rare sounds made by worms (what if silence were louder than noise?); an experiment carried out on humans, by loudspeakers sitting as members of the audience (what if there were no \u2018sweet spot\u2019?); and an attempt to blur the lines between the real and the virtual, while developing new ways to document sound art (what if there were no (virtual) reality?).Cover photo for the exposition 'Absurd Sounds' by Anders Sune Berg, 2017.<\/jats:p>\n keywords: Absurd sounds, sound art, innovation through meaning, virtual reality, invisible choreography, silence, sweet spot, real virtuality, worms, recording spaces, recording technique<\/jats:p>","DOI":"10.22501\/jar.820939","type":"journal-article","created":{"date-parts":[[2021,5,22]],"date-time":"2021-05-22T18:02:24Z","timestamp":1621706544000},"source":"Crossref","is-referenced-by-count":0,"title":["Absurd Sounds"],"prefix":"10.22501","author":[{"family":"Yann Coppier","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:05:57Z","timestamp":1784282757000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/820939\/821145"}},"issued":{"date-parts":[[2021,5,23]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/jar.820939","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2021,5,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024158,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,10]],"date-time":"2020-12-10T00:00:00Z","timestamp":1607558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"- Et kunstnerisk eksperiment<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1084051","type":"posted-content","created":{"date-parts":[[2020,12,10]],"date-time":"2020-12-10T08:22:21Z","timestamp":1607588541000},"source":"Crossref","is-referenced-by-count":0,"title":["BETYDNINGEN AV KLANGLIGE OG VISUELLE ROM I INNSPILT MUSIKK [Mari Nesvold - 2020-12-10 14:19]"],"prefix":"10.22501","author":[{"family":"Mari Nesvold","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:28Z","timestamp":1784282428000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1084051\/1084052"}},"issued":{"date-parts":[[2020,12,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1084051","published":{"date-parts":[[2020,12,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025364,"version":"3.55.0"},"posted":{"date-parts":[[2023,3,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,3,28]],"date-time":"2023-03-28T00:00:00Z","timestamp":1679961600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"How to document music with non-sonic elements? Or: How to document all the performative qualities of a piece of music that can\u2019t be heard? Beginning with this question our group of researchers, filmmakers and dramaturgs from Birmingham (UK), Frankfurt (Germany) and Fredrikstad (Norway) met between 2019 and 2021 to develop initial ideas and questions, then test them.<\/jats:p>\n keywords: 2023, Music and performing arts<\/jats:p>","DOI":"10.22501\/rc.1363394","type":"posted-content","created":{"date-parts":[[2023,3,28]],"date-time":"2023-03-28T14:21:11Z","timestamp":1680013271000},"source":"Crossref","is-referenced-by-count":0,"title":["Documenting Non-Sonic Music"],"prefix":"10.22501","author":[{"family":"Paul Norman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Michael Wolters","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-7198-5172","authenticated-orcid":false,"family":"Andy Ingamells","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:38Z","timestamp":1784282378000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1363394\/1363395"}},"issued":{"date-parts":[[2023,3,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1363394","published":{"date-parts":[[2023,3,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:32Z","timestamp":1784283032573,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T00:00:00Z","timestamp":1687737600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"This exposition proposes a method of artistic research that uses (and disobediently misuses) techniques of reconstruction as a mode of performative, artistic, and architectural invention. Our speculative notion of reconstruction challenges inherited disciplinary notions of historiography and simultaneously functions as a propositional and generative tool. The exposition revolves around the discussion of a research and performance project entitled Jakob K., which reconstructs the works of fictional Bauhaus choreographer and gymnastics teacher Jakob Klenke (1874\u20131941). This reconstruction was the product of a collaboration between performance artists and architectural researchers, involving field work, site-specific re-enactment, 3D scanning, animation, and digital fabrication, and culminated in a series of live performances at Kampnagel (Hamburg) and during the 2019 Bauhaus 100 centennial. The exposition is structured around a series of multimedia sections, each of which departs from an element of the performance\u2019s architectural and medial framing, describes aspects of the artistic research process, and uses these as a lens for theoretical reflection. In analogy to our working method, which created the project as an ongoing layering of spatial and choreographical \u2018evidence\u2019, this method of discussing the project consecutively adds layers and connections to the project-assemblage that is Jakob K. Throughout the exposition, a practice emerges that challenges notions of solely human-authored and human-centred design and performance; proposes a set of techno-speculative training practices while challenging historical discourses on body optimisation; and subverts disciplinary uses of technology, prescriptive logics of representation, and techniques of reconstruction, misusing them instead in disobedient ways and reinventing them as creative affordances that can challenge dominant techniques of power.<\/jats:p>\n keywords: Reconstruction, Speculation, Performance, Architecture, Choreography, Dance, Technology, Bauhaus, Indeterminacy, Body Politics, Fiction, Historiography, Re-enactment, Video projection, Animation, Digital fabrication, 3D scanning<\/jats:p>","DOI":"10.22501\/jar.1159573","type":"journal-article","created":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T05:15:41Z","timestamp":1687756541000},"source":"Crossref","is-referenced-by-count":0,"title":["On the Indeterminate Training Technologies of a Reconstructed Bauhaus Choreographer. A Research Practice Between Speculative Historiography, Architectural Invention, and Performative Co-enactment"],"prefix":"10.22501","author":[{"family":"Thomas Pearce","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:49Z","timestamp":1784282509000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1159573\/1267051"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jar.1159573","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:50Z","timestamp":1784282990286,"version":"3.55.0"},"posted":{"date-parts":[[2024,12,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,12,30]],"date-time":"2024-12-30T00:00:00Z","timestamp":1735516800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My doctoral research explored musical interaction with disabled children and their families, focusing on how, when and under what conditions music becomes accessible and meaningful. The serie of pictures provides an insight into how accessibility is co-created by participants, activities, actions, objects and the environment.The whole PhD thesis can be accessed here: https:\/\/research.gold.ac.uk\/id\/eprint\/34028\/<\/jats:p>\n keywords: music, families, music therapy, accessibility, participatory research, graphic medicine<\/jats:p>","DOI":"10.22501\/rc.2967329","type":"posted-content","created":{"date-parts":[[2024,12,30]],"date-time":"2024-12-30T06:50:31Z","timestamp":1735541431000},"source":"Crossref","is-referenced-by-count":0,"title":["Hva gj\u00f8r musikk tilgjengelig?"],"prefix":"10.22501","author":[{"family":"Maren Metell","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:26Z","timestamp":1784282306000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2967329\/2967330"}},"issued":{"date-parts":[[2024,12,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2967329","published":{"date-parts":[[2024,12,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:45Z","timestamp":1784369025141,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2022,11,17]],"date-time":"2022-11-17T00:00:00Z","timestamp":1668643200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,11,17]]},"abstract":"Circular Bowing, Cyclical Work explores the collaboration between composer Henrik Strindberg and myself, violinist Karin Hellqvist, from my viewpoint as performer and co-creator. On my initiative, as part of my PhD in artistic research at the Norwegian Academy of Music in Oslo, a cyclical collaborative practice is being developed. Our process differs from the conventional separation of roles that I have so far experienced as a performer of contemporary Western classical music. The exposition highlights how my understanding of the emerging concept of 'the artistic palette' develops through the shared work and dialogue around Cirkul\u00e4ra Str\u00e5k for violin and electronics, when expanding my practice and establishing a new work mode. Through examples from the artistic process, the exposition aims at further unfolding how we as collaborators develop ways of challenging each other. A keyword for my defiance of the traditional and formal task division, is the search for connection \u2013 connection to my collaborator, the work, and the embodied knowledge of my artistic palette. The exposition comprises written reflections, transcribed dialogue and sketches as well as video and audio documentation. Documentary video conversations are held in Swedish with English subtitles.<\/jats:p>\n keywords: collaborative composition, alternative work methods, artistic identity, connection, artistic palette<\/jats:p>","DOI":"10.22501\/vis.1457282","type":"journal-article","created":{"date-parts":[[2022,11,17]],"date-time":"2022-11-17T16:50:31Z","timestamp":1668703831000},"source":"Crossref","is-referenced-by-count":0,"title":["Circular Bowing, Cyclical Work"],"prefix":"10.22501","author":[{"family":"Karin Emilia Hellqvist","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:56Z","timestamp":1784365916000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1457282\/1457283"}},"issued":{"date-parts":[[2022,11,17]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/vis.1457282","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2022,11,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:37Z","timestamp":1784289877271,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T00:00:00Z","timestamp":1715558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: Xenopoetic De\/Compositions: The Affect-Body as Interface, Supervisor: Jakob Lena KneblEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2737995","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:26:19Z","timestamp":1715585179000},"source":"Crossref","is-referenced-by-count":0,"title":["Improbable Interfaces: Ambiguity, Affect and the Corporeal"],"prefix":"10.22501","author":[{"family":"Johanna Bruckner","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:24:02Z","timestamp":1784287442000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2737995\/2737996"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2737995","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:20Z","timestamp":1784290100082,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2015,10,28]],"date-time":"2015-10-28T00:00:00Z","timestamp":1445990400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,10,28]]},"abstract":"The semiotic model described by CS Peirce has been adapted to film and media generally, and more recently to sound and music analysis but seldom has it been applied to the actual practice of sound design. This paper argues that the model provides not only a comprehensive and powerful tool for the analysis of sound but may also be used as a tool to examine and inform the practice of sound design and production.By focussing particularly on Peirce\u2019s later model of semiotics, which clarifies and reframes the definitions of some of the principal elements of his system, its utility in application to the analysis of sound is greatly enhanced. It provides an appropriate and flexible conceptual framework which can be applied to the processes involved in creating elements of the soundtrack \u2013 the practice of sound design \u2013 and a means to understand how the sounds themselves, and in conjunction with the image, can be used to create meaning for the audience.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.94638","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:19Z","timestamp":1733131639000},"source":"Crossref","is-referenced-by-count":0,"title":["Peirce and sound design practice"],"prefix":"10.22501","author":[{"family":"Leo Murray","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:52:02Z","timestamp":1784289122000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/94638\/94639"}},"issued":{"date-parts":[[2015,10,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jss.94638","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2015,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:17Z","timestamp":1784282957350,"version":"3.55.0"},"posted":{"date-parts":[[2026,4,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,25]],"date-time":"2026-04-25T00:00:00Z","timestamp":1777075200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research developed a Jathilan kendhang prototype using recycled materials such as PVC banners and LDPE plastic bags to replace traditional materials like wood and animal skins, aiming to reduce plastic waste while maintaining the acoustic function of the musical instrument. The practice-led research method was applied through the processes of design, experimentation, and reflection, where the stave and jig technique was used to shape the kendhang body from PVC, while the plastic membrane was produced using a heat press system to achieve optimal thickness and tension. The results show that kendhang made from recycled materials can produce quality sound and function well in Jathilan performances, while also contributing to sustainable waste management. This project demonstrates the potential of waste materials in traditional arts, supports the concept of a circular economy, and plays an important role in integrating art, technology, and environmental sustainability to promote more sustainable cultural tourism.<\/jats:p>\n keywords: Recycled materials, Jathilan drum, Practice-led research, Multiflex bending, Recycling materials, jathilan, drum, practice led research, multiflex, bending<\/jats:p>","DOI":"10.22501\/rc.3226375","type":"posted-content","created":{"date-parts":[[2026,4,25]],"date-time":"2026-04-25T09:16:10Z","timestamp":1777108570000},"source":"Crossref","is-referenced-by-count":0,"title":["Jathilan Drum Prototype Made from Recycled Flexi Plastic"],"prefix":"10.22501","author":[{"family":"Moch Hasrul Indrabakti","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:43Z","timestamp":1784282203000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3226375\/3226376"}},"issued":{"date-parts":[[2026,4,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3226375","published":{"date-parts":[[2026,4,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:20Z","timestamp":1784282960942,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,6]],"date-time":"2026-02-06T00:00:00Z","timestamp":1770336000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Water covers more than 70% of the earth\u2019s surface, and thus constitutes a major section of the ecosystem on Earth. It is a vital element on earth, all life (as we know it) depends on water to be able to thrive.The climate has always changed a bit, but in recent years, due to greenhouse gases, the climate has experienced extreme changes which have also strongly impacted the global water cycle. From melting glaciers to ocean acidifications, flash floods, and prolonged droughts, disruptions in ecosystems now happens faster than most species can adapt to. Because of global warming, the atmosphere can hold and transport more moisture.Water doesn\u2019t have the opportunity to fully infiltrate the soil. This accelerates the hydrological cycle. While it is still important to decelerate this process as much as we can, it is also important to look into strategies of adaptation and think ahead to a future with water that will be compromised.In this book, we explore water futures through the speculative design approach. This design practice aims to challenge preconceptions, raise questions, and provoke debates. It opened the doors for designers to imagine and explore possible water futures globally.We start with the water spring in India where the Ganga river starts, then travel further down the river stream. We end up in the Netherlands where different rivers connect to the sea. We continue where the river meets the sea and travel to the salterns in France and Croatia. Here water changes form, turning into gas and flowing through the air as evaporating steam in the geothermal region of Iceland. Eventually this book will end up with the condensation of the fog net in the Namib Desert.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4172893","type":"posted-content","created":{"date-parts":[[2026,2,6]],"date-time":"2026-02-06T22:43:30Z","timestamp":1770417810000},"source":"Crossref","is-referenced-by-count":0,"title":["mapping water futures"],"prefix":"10.22501","author":[{"family":"Riekje Paruschke","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:12Z","timestamp":1784282232000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4172893\/4172894"}},"issued":{"date-parts":[[2026,2,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4172893","published":{"date-parts":[[2026,2,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:42Z","timestamp":1784290122478,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","license":[{"start":{"date-parts":[[2023,6,6]],"date-time":"2023-06-06T00:00:00Z","timestamp":1686009600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2023,6,6]]},"abstract":"Porous Worlds \u2013 the Liminal Spaces of Relief was carried out as an artistic research PhD project in affiliation with The Art Academy, Faculty of Fine Art, Music and Design at the University of Bergen. The project examines the relief, its connections to art, craft, architecture, and ornament, as well as its various dimensions as an artistic medium. It has been the relief\u00b4s in-between status and the lack of contemporary art discourse around it that has informed the questions like: what is at stake working with relief form today? What kind of artistic potential and possibilities does ceramic relief have to offer?<\/jats:p>\n keywords: KMD_PhD, KMD_FineArt<\/jats:p>","DOI":"10.22501\/kmd-ar.564939","type":"journal-article","created":{"date-parts":[[2023,6,6]],"date-time":"2023-06-06T14:25:54Z","timestamp":1686061554000},"source":"Crossref","is-referenced-by-count":0,"title":["Porous Worlds \u2013 the Liminal Spaces of Relief"],"prefix":"10.22501","author":[{"family":"Pauliina P\u00f6ll\u00e4nen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:57:28Z","timestamp":1784289448000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/564939\/564940"}},"issued":{"date-parts":[[2023,6,6]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.564939","published":{"date-parts":[[2023,6,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:17Z","timestamp":1784289857087,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","license":[{"start":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T00:00:00Z","timestamp":1719360000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,6,26]]},"abstract":"Leo Hosp (Center Research Focus) widens our perspective through her contribution \"I Can See Queerly Now. Queer Perspectives On Project Work\", which is a reflection on queer working practices. Hosp intertwines her own experiences of queerness with insights from collaborative project work within the Action for Sustainable Future (ASF) hub. Hosp\u2019s contribution refrains from defining queer research. Instead, it explores different aspects and approaches to deal with an inherently fluid term to propose a queer project work manifesto. Presented as a momentary insight into Hosp\u2019s research, it is not to be understood as a finalized outcome but an open invitation.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/repos.2481748","type":"journal-article","created":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T05:13:11Z","timestamp":1719378791000},"source":"Crossref","is-referenced-by-count":1,"title":["I Can See Queerly Now. Queer Perspectives On Project Work"],"prefix":"10.22501","author":[{"family":"Leo Hosp","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:22:52Z","timestamp":1784287372000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2481748\/2481749"}},"issued":{"date-parts":[[2024,6,26]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/repos.2481748","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,6,26]]}},{"indexed":{"date-parts":[[2026,7,16]],"date-time":"2026-07-16T14:15:01Z","timestamp":1784211301599,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0098","type":"journal-article","created":{"date-parts":[[2026,7,16]],"date-time":"2026-07-16T13:55:01Z","timestamp":1784210101000},"source":"Crossref","is-referenced-by-count":0,"title":["On common ground - Interconnecting artistic research"],"prefix":"10.22501","author":[{"given":"Joaquin","family":"Macedo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","published-online":{"date-parts":[[2026,7,9]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2026,7,16]],"date-time":"2026-07-16T13:55:02Z","timestamp":1784210102000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.jar-online.net\/en\/node\/2428"}},"issued":{"date-parts":[[2026,7,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0098","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2026,7,9]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:32Z","timestamp":1784289812106,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T00:00:00Z","timestamp":1615161600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,3,8]]},"abstract":"This exposition is an investigation into software tranquillity through sound. One second of activity on a laptop was recorded by tracing the function calls within the Linux kernel. Can software be wild or calm? If so, what would calm software be like? Imagining that the software could experience its own existence, is the nature of its tranquillity or activity apparent to it? Can we as humans experience the tranquillity of software, if it indeed exists, and can we experience it as tranquil? Listen to fragments of one second worth of real software (in)activity while we present and reflect on the outcomes of this investigation.<\/jats:p>\n keywords: software, music, digitality, art practice, time<\/jats:p>","DOI":"10.22501\/ruu.904300","type":"journal-article","created":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T08:56:08Z","timestamp":1615193768000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sound of Software Tranquillity"],"prefix":"10.22501","author":[{"family":"Erik Natanael Gustafsson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Baudry Benoit","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:09:24Z","timestamp":1784286564000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/904300\/904301"}},"issued":{"date-parts":[[2021,3,8]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/ruu.904300","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2021,3,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:11Z","timestamp":1784289851924,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2015,3,29]],"date-time":"2015-03-29T00:00:00Z","timestamp":1427587200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2015,3,29]]},"abstract":"Sure a photograph can be divided in its mental image and its image-object. These kind of duals follow our tradition, our metaphysics.When we rather think our corporeality as becoming to or becoming of the corpus instead of the separation of the mind and the body, we can or we even have to think the same way with photography, which traditionally has been located in-between of the nature and the culture.This essay aims at figuring out the question of the materiality of a photograph when we have to think otherwise than with the difference between mind and body, inside and outside etc. The text argues that the \u201dmaterial core\u201d is not the origin of the materiality of the photograph, but that the essential center appears only as a trace. Instead of referring to a distant object or a distant instant the trace is the distance itself, its differing and deferring.The materiality of the photograph consists of its materialities. In a way it is like our bodies are \u2013 actual and real, partly serving us, yet also mute and unresponsive, giving the possibility of being. Being itself, becoming.<\/jats:p>\n keywords: photography, materiality, deconstruction, corporeality<\/jats:p>","DOI":"10.22501\/ruu.62963","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:36Z","timestamp":1503635076000},"source":"Crossref","is-referenced-by-count":0,"title":["Co-relation that is not \u2013 photography and coming into the materiality"],"prefix":"10.22501","author":[{"family":"Ari Kakkinen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:20:36Z","timestamp":1784287236000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/62963\/62964"}},"issued":{"date-parts":[[2015,3,29]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/ruu.62963","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2015,3,29]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:02Z","timestamp":1784369102373,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T00:00:00Z","timestamp":1733961600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,12,12]]},"abstract":"Exploring synergies between the study of the medium H\u00e9l\u00e8ne Smith at the turn of the 20th century and contemporary notions of subjectivity, artificiality and intelligence in the age of AI, the question of locating intelligence will not be a question with a binary answer in this paper. It will be shifted to multiple sites in an assimilative assemblage, exploring how identification might work from a rather metabolic side of the conversation. Weaving a thinking continuum on the evolving human-machine complexes beyond circular debates, H\u00e9l\u00e8ne Smith's ambiguous Martian writings are fed into GPT; an act intended as a metaphor and method for overcoming our binary contradiction of intelligence as either \u201cnatural\u201d or \u201cartificial\u201d, ultimately generating new subjectivities, fluid variables or even contradictory insights. In this context, a meditation with speculative moments is attempted through human-machine inter-written texts, enacted through inter-twined speeches that reciprocally represent and interpret their own transitive nature.<\/jats:p>\n keywords: artificial intelligence, language, transition, H\u00e9l\u00e8ne Smith, ChatGPT, GPT2<\/jats:p>","DOI":"10.22501\/hub.2678388","type":"journal-article","created":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T06:06:35Z","timestamp":1734329195000},"source":"Crossref","is-referenced-by-count":0,"title":["When GPT Digested the Medium He\u0301le\u0300ne Smith"],"prefix":"10.22501","author":[{"family":"Katerina Undo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:23:21Z","timestamp":1784366601000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2678388\/2678343"}},"issued":{"date-parts":[[2024,12,12]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/hub.2678388","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2024,12,12]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:13Z","timestamp":1784365873354,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,6,25]],"date-time":"2024-06-25T00:00:00Z","timestamp":1719273600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2024,6,25]]},"abstract":"I dette kunstneriske utviklingsarbeidet har jeg eksperimentert med ulike m\u00e5ter \u00e5 bruke Ableton Live som et kreativt verkt\u00f8y. Dette med utgangspunkt i mitt hovedinstrument - trommer. Jeg har som en del av masteroppgaven komponert og produsert tre l\u00e5ter. Beskrivelsen av og refleksjonen rundt komposisjonsprosessen presenteres i kontekst av vitenskapelig teori og metode. I l\u00f8pet av refleksjonen setter jeg ord p\u00e5 en ny bevisstgj\u00f8ring rundt min kombinerte rolle som ut\u00f8ver, komponist og produsent gjennom solo-komprovisasjon og hvordan dette har gitt meg ny innsikt i egne estetiske preferanser. Jeg reflekterer ogs\u00e5 over hvordan teknologien jeg benyttet meg av p\u00e5virket komposisjonene, hovedsakelig hvordan trommespillet, sound, lydvalg og formen p\u00e5 l\u00e5tene ble direkte p\u00e5virket av hvordan jeg samhandlet med teknologien.<\/jats:p>\n keywords: Ableton live, drums, drummer, composition process, music technology, Comprovisation<\/jats:p>","DOI":"10.22501\/uia.2538357","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:08:08Z","timestamp":1727179688000},"source":"Crossref","is-referenced-by-count":0,"title":["Ableton Live som kreativt verkt\u00f8y for trommeslagere"],"prefix":"10.22501","author":[{"family":"Solveig Nyhus","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:58:59Z","timestamp":1784365139000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2538357\/2693735"}},"issued":{"date-parts":[[2024,6,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2538357","published":{"date-parts":[[2024,6,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967779,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Utdrag fra samtale med Kristian Balke og Stine Marie Olaussen fra SKANSKA p\u00e5 befaring av \u00d8stre Aker vei 25.<\/jats:p>\n keywords: sendstad, bl\u00e5leire, murstein, tegl, sendstad teglverk, kunstnerisk forskning, 3D scanning, 3D printing, clay, brick, blueclay, sendstad brickfactory, artistic resaerch, brick industry, teglindustri, teglhistorie, brick history<\/jats:p>","DOI":"10.22501\/rc.3005222","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T02:05:23Z","timestamp":1741313123000},"source":"Crossref","is-referenced-by-count":0,"title":["Samtale med Kristian Balke og Stine Marie Olaussen fra SKANSKA"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:17Z","timestamp":1784282297000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3005222\/3005102"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3005222","published":{"date-parts":[[2025,3,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:00Z","timestamp":1784283000286,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,15]],"date-time":"2020-12-15T00:00:00Z","timestamp":1607990400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In her book \u2018Time Binds: Queer Temporalities, Queer Histories\u2019 Elizabeth Freeman (2010) recognises the erotic body as a method to speak about non-normative experience of chronopolitics for queer identities. Ceglarz\u2019s research borrows Freeman\u2019s method (erotohistoriography) and applies it in practice-led fine art research in order to materialise pleasurable nooks of time and to create experiences of disorientating interruptions. His research seeks to disjoint the dominant narrative of pain and trauma in discourses on LGBTQI+ identities. Ceglarz does this by focusing on materialising the experience of melancholy that emerges from the loss of spaces that served and cared for gay erotic practices. His installation titled \u2018Love\u2019 (2019) uses a combination of works that reflect on the migration of these spaces from the partially public sphere into pre-dominantly private. In these works he uses phallic imaginary embedding it with the domestic materialities and practices; from plates, egg cups, table cloths and hand towels that are painted, embroidered ironed and displayed. Accompanying the installation is a performance piece comprised of: reading out aloud the \u2018Love Manifesto\u2019 (Ceglarz, 2019); a love letter addressed to \u2018My Dear Old Faggots\u2019: and phallic shaped glitter pieces thrown sporadically into the air from a coffee cup with the word \u2018Cocksucker\u2019 painted on it. To enhance this experience, Ceglarz also uses the poetry of Jean Genet in his pieces, attenuating the non-chrononormative melancholy that allows for the \u201ccollapse of past and future into an immediate intensity\u201d (Johnny Golding, 2013). The installation and performance piece formed the basis of a solo exhibition in the international artist-run space, Lab155, Bologna (2019), and were part of the international conference \u2018Un-tie the Knot: Redefining normativity in Love\u2019 (2019) part of ORGAN VITA arts festival in Croatia held in the Museum of Nicola Tesla, Zagreb.<\/jats:p>\n keywords: queer theory, erotics, Home and Sited Practice, home, continental philosophy<\/jats:p>","DOI":"10.22501\/rc.1080342","type":"posted-content","created":{"date-parts":[[2020,12,15]],"date-time":"2020-12-15T05:37:02Z","timestamp":1608010622000},"source":"Crossref","is-referenced-by-count":0,"title":["Love Manifesto; embodying disorientation through erotohistoriography."],"prefix":"10.22501","author":[{"family":"Jakub Jan Ceglarz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:27Z","timestamp":1784282427000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1080342\/1080343"}},"issued":{"date-parts":[[2020,12,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1080342","published":{"date-parts":[[2020,12,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:03Z","timestamp":1784283063792,"version":"3.55.0"},"posted":{"date-parts":[[2019,6,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,6,19]],"date-time":"2019-06-19T00:00:00Z","timestamp":1560902400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Sonoqualia is a project aimed at people with visual impairment, whose main objective is the creation of sound artistic experiences linked to pictorial works housed in museums of the city of Madrid. The name (Sono-qualia) refers to the subjective qualities of the sounds we feel and perceive each one of us, so its intention is far from objective criteria translators of visual material in sound material. Pictorial works are the frames of reference from which the spaces and sound experiences are created. The audio-descriptions offered by museums, understood as descriptive narratives of the elements put in relation in the pictures, are the starting point of the project, conceived as a 5-week workshop in which the participants work in groups, assisted by technicians who facilitate them the access to sound-composition software. Sonoqualia focuses on the construction, enrichment and communication of the mental images of the participants, generated from these descriptive narratives, understood as internal representations shaped from our multimodal experiences, in which all the senses intervene. Various elements are used for this purpose, such as symbolic values and emotional meanings of the sounds daily used in our interpersonal and environmental relationships; the sound imagination, which has the capacity of development, sophistication and complexity; previous sound experiences or \"sonorous culture\", variable in each participant, but enriched when shared and put together; sound material chosen simply by \"as it sounds\", i.e. by aesthetic criteria... The result is the creation of sound pieces with a duration around 2 minutes. This project has been the beneficiary of an aid for the artistic creation of the city Council of Madrid 2017 and so far, two editions of it have been made.<\/jats:p>\n keywords: sound, soundscape, pictures, artistic experience<\/jats:p>","DOI":"10.22501\/rc.635016","type":"posted-content","created":{"date-parts":[[2019,6,19]],"date-time":"2019-06-19T08:24:27Z","timestamp":1560932667000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonoqualia 2.0"],"prefix":"10.22501","author":[{"family":"Concha Garc\u00eda","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:47Z","timestamp":1784282447000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/635016\/635019"}},"issued":{"date-parts":[[2019,6,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.635016","published":{"date-parts":[[2019,6,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:31Z","timestamp":1784290051620,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2017,7,4]],"date-time":"2017-07-04T00:00:00Z","timestamp":1499126400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,7,4]]},"abstract":"This essay \u2013 situated within the small but emerging field of sonic food studies and gastronomic auditory cultures \u2013 is positioned in the gap between the sounds of food and the meanings derived from the behaviors and practices encircling food. In food studies literature, assumptions abound about multi-sensory engagement. Yet, the sonic components of food remain undertheorized. This sonic research article \u2013 consisting of an sonic artifact and exegesis \u2013 emphasizes and prioritizes sensory incongruity. Intentionally, the non-eating sounds of the digital and analogue interactions surrounding food are summoned. There is a reason for the focus on these interfaces. Working with Viktor Shklovsky\u2019s theorization of defamiliarization or ostranenie (\u043e\u0441\u0442\u0440\u0430\u043d\u0435\u043d\u0438\u0435), presented in his 1917 essay \u201cArt as Device,\u201d I am interested in reducing \u201cautomatization\u201d and value \u201cdisruptions.\u201d I have produced a sonic artifact that textualizes three slices of food sound: shopping for groceries, the delivery of food to a domicile, and cooking. These sounds were not slotted into a convenient narrative of a sonic documentary. They were not staged; they were not sound effects. There is a gap \u2013 of experience, expertise, perception, and meaning \u2013 between signifier and signified, the sound and its reception. The deferral of meaning creates hesitation, confusion, instability, and unsettles meaning systems.<\/jats:p>\n keywords: sound, Sonic Studies, media, john cage, food studies, sonic food studies, sonic, ostranenie, defamiliarization, creative-led research<\/jats:p>","DOI":"10.22501\/jss.369386","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:07Z","timestamp":1733131627000},"source":"Crossref","is-referenced-by-count":0,"title":["The sounds of food: Defamiliarization and the blinding of taste"],"prefix":"10.22501","author":[{"family":"Tara Brabazon","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:46:37Z","timestamp":1784288797000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/369386\/369387"}},"issued":{"date-parts":[[2017,7,4]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jss.369386","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2017,7,4]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:09:13Z","timestamp":1784286553340,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"In this exposition, I present an open and accessible approach to analysing art in public space. It introduces a toolbox for evaluating both the artist\u2019s ambition and the artwork\u2019s impact. I use this exposition to pose a central question: can such a toolbox serve as a valuable resource for assessing the ambitions and effects of artworks in public space? Art often engages with overwhelmingly complex issues such as world peace, climate change, and inclusivity, making it essential to understand how ideology translates into tangible impact. To address this, I have filled the toolbox with various tools and utilities, the applicability of which I test through case studies that examine each artwork\u2019s ambition and impact: does it function as a crowbar, a head massage tool, a noticeboard, or a workbench? In doing so, I attempt to find a constructive way to navigate the dilemmas surrounding public art, including the roles of commissioning, disengagement, and participation.<\/jats:p>\n keywords: public space, art, ambition, impact, agonism, participation<\/jats:p>","DOI":"10.22501\/ruu.3055779","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:02:38Z","timestamp":1777449758000},"source":"Crossref","is-referenced-by-count":0,"title":["A Head Massage Tool or a Crowbar? Toolbox for the Reflection of Art in Public Spaces"],"prefix":"10.22501","author":[{"family":"Ren\u00e9e van Oploo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:01:30Z","timestamp":1784286090000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3055779\/3055812"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3055779","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,9,1]],"date-time":"2026-09-01T21:14:07Z","timestamp":1788297247859,"version":"build-2803163510"},"posted":{"date-parts":[[2025,6,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,17]],"date-time":"2025-06-17T00:00:00Z","timestamp":1750118400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The most discussed participatory art projects today for their values, are always based on either breaking new ground (or shaking the theoretical foundations of public art, or existing frameworks and definitions), significantly expanding participation (which is still as an important, even decisive indicator), or elevating the audience\/recipients to a position of priority (or using local indicators to evaluate success or failure).The results are often hidden rather than immediately apparent on the surface. The core issue here is to what extent the choices of participants are respected, or how to minimize intervention in their choices? This study aims to re-examine the two aesthetic preferences represented by Kester and Bishop\u2014collaboration and antagonism\u2014as an extension of Bourriaud\u2019s relational aesthetics, further developing them into two distinct approaches: bottom-up, community-based collaborative and dialogic participatory art, and top-down, large-scale participatory art. Today, non-community participatory art is generally understood as an attempt to control the audience\u2019s perception and interpretation, exerting a broader influence and gaining favor among critics as a form of post-elite art. Community art, on the other hand, is often questioned for its aesthetic value, with its social value as an priority, being emphasized in the context of excessive intervention by art institutions and governments, resulting in a smaller influence and little attention from critics. If these limitations are overcome, community art can practically enable the public to reach the true \u201ccollaborator\u201d stage of participation. This study serves as a further reflection on the position of community art in today\u2019s art world, as presented in Matarasso\u2019s book A Restless Art (2019), and provides a value assessment diagram for participatory art, attempt to clarify the practical value of community art as the significant participatory art through a visual model.<\/jats:p>\n keywords: community based art work, Participatory Art, community-engaged art, democratic public space<\/jats:p>","DOI":"10.22501\/rc.3759070","type":"posted-content","created":{"date-parts":[[2025,6,17]],"date-time":"2025-06-17T02:36:30Z","timestamp":1750127790000},"source":"Crossref","is-referenced-by-count":1,"title":["Community art as an egalitarian participatory practice"],"prefix":"10.22501","author":[{"family":"BANGHUA SUN","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:04Z","timestamp":1784282284000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3759070\/3759069"}},"issued":{"date-parts":[[2025,6,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3759070","published":{"date-parts":[[2025,6,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,9,27]],"date-time":"2026-09-27T23:38:52Z","timestamp":1790552332730,"version":"4.1.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2016,11,8]],"date-time":"2016-11-08T00:00:00Z","timestamp":1478563200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,11,8]]},"abstract":"This exposition presents the artistic research project 'Zum Spielen und zum Tantzen: A Kinaesthetic Exploration of the Bach Cello Suites through Studies in Baroque Choreography\u2019, undertaken at the Norwegian Academy of Music between 2009 and 2012. I offer a historical background, discuss the method used, and present the artistic results in the form of video and audio files.The dance titles of J. S. Bach's cello suites, derived from French court dance, clearly meant more to the composer than just abstract references. In Bach's time, dance practice permeated social life, and an intimate knowledge of fashionable dance forms was indispensable for a musician. The movements and gestures of these dances inevitably had a profound influence on performance style.I have investigated how the practice of Baroque dance could influence my interpretation of the Bach suites. Learning the essentials of this style and its original choreographies and frequently accompanying dancing, I also explored the dance aspect of the cello suites by way of experiments with historical tempos as well as melodic and rhythmic reductions of the musical material.Through this project, I hope to make a worthy contribution to the development of performance practice studies, offering a recontextualisation of Bach\u2019s work that emphasises the close links between the expressive gestures of music and dance. The results have both artistic and pedagogic potential as tools to discover essential aspects of dance character in Baroque music.<\/jats:p>\n keywords: Bach, Cello Suites, Cello solo, Baroque Dance, La belle danse, HIP, Body paradigm, dance tempo, dance character, melodic reduction, Taubert, Feuillet, Rameau, P\u00e9cour, Tomlinson, sarabande, bourr\u00e9e, gavotte, gigue, courante, corrente, giga, allemande, minuet, artistic research, J. S. Bach, kinaesthetic empathy<\/jats:p>","DOI":"10.22501\/jar.103350","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T15:52:36Z","timestamp":1492444356000},"source":"Crossref","is-referenced-by-count":1,"title":["Zum Spielen und zum Tantzen"],"prefix":"10.22501","author":[{"family":"Tormod Dalen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:13:23Z","timestamp":1784283203000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/103350\/103351"}},"issued":{"date-parts":[[2016,11,8]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/jar.103350","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2016,11,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:48Z","timestamp":1784283048728,"version":"3.55.0"},"posted":{"date-parts":[[2023,4,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,24]],"date-time":"2023-04-24T00:00:00Z","timestamp":1682294400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Knapp f\u00fcnfhundert Buchen rund um den Gro\u00dfen Stechlinsee im Norden Brandenburgs, Deutschland, sind mit Ritzungen versehen. Die \u00e4ltesten von ihnen stammen aus den 1920er Jahren. Es gibt Ritzungen aus der Nazizeit und viele aus den 1950ern bis 1980ern. Ich wollte wissen, was uns diese Zeichen \u00fcber die Geschichte des Sees und seine Besucher*innen erz\u00e4hlen.<\/jats:p>\n keywords: grafitti, arborglyphs, dendroglyphs<\/jats:p>","DOI":"10.22501\/rc.1908988","type":"posted-content","created":{"date-parts":[[2023,4,24]],"date-time":"2023-04-24T16:12:11Z","timestamp":1682352731000},"source":"Crossref","is-referenced-by-count":0,"title":["Ritzungen am Stechlin"],"prefix":"10.22501","author":[{"family":"Bj\u00f6rn Kr\u00f6ger","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:36Z","timestamp":1784282376000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1908988\/1908989"}},"issued":{"date-parts":[[2023,4,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1908988","published":{"date-parts":[[2023,4,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:49Z","timestamp":1784282989010,"version":"3.55.0"},"posted":{"date-parts":[[2025,11,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,17]],"date-time":"2025-11-17T00:00:00Z","timestamp":1763337600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My presentation for Listen for Beginnings drew on a number of recent collaborations to explore how the ethico-aesthetic practice of listening (and being listened to) has increasingly become a vital thread within my enquiry. The performativity of my presentation involved weaving between different research artefacts and materials generated in and through artistic collaboration (including video and transcript extracts), alongside \"thinking with\" a wider critical-contextual milieu (specifically the writing of thinkers such as Gemma Corradi Fiumara and Lispeth Lipari) to consider the relational and ethical ramifications of a listening attitude. I explored how forms of languaging developed through listening might in turn call for different kinds of reception (alternative ways of listening and reading), alongside proposing how a \u2018listening stance\u2019 might inform an approach to collaboration \u2014 collaboration conceived as a mode of in-touch-ness that also allows for adjacency and alongside-ness, for indirectness and obliqueness, for the reciprocity of listening and being listened to. Within this published context, I want to allow a \u2018breathing space\u2019 (perhaps even a \u2018listening space\u2019) for selected fragments of an emergent vocabulary of\/through listening generated from within a process of collaborative research. My paper comprises extracts of conversational transcript from three different collaborative projects where an immanent and reflexive language for attesting to the qualities and conditions of listening emerges in and through a language-based practice that is itself imbued with a listening attitude \u2014 one that involves listening to oneself, listening to others, listening for emergent wor(l)ds. The textual extracts have been generated largely through a practice of conversation and\/or the experimental reading of conversational transcripts within the following projects: I \u2013 \u201cDorsal Practices\u201d is an artistic research collaboration with Katrina Brown for exploring how a back-oriented awareness and attitude might shape and inform our embodied, affective and relational experience of being-in-the-world; II \u2014 \u201cthinking aesthetic thinking through aesthetic research practices\u201d is an artistic research project involving Alex Arteaga, Emma Cocker, Nicole Wendel (with Sabine Zahn in the first phase) that focuses on ways in which aesthetic research practices enable and realise a specific form of thinking: aesthetic thinking; III \u2014 \u201cThe Appearance of the More\u201d is an artistic research collaboration with Nicole Wendel for bringing-into-relation the unfolding, embodied processes of drawing and languaging as resonating fields of perception and cooperation.<\/jats:p>\n keywords: listening, language-based artistic research, collaboration, conversation, dorsal practices<\/jats:p>","DOI":"10.22501\/rc.3920956","type":"posted-content","created":{"date-parts":[[2025,11,17]],"date-time":"2025-11-17T12:09:51Z","timestamp":1763381391000},"source":"Crossref","is-referenced-by-count":0,"title":["Soft letting of language \u2014 Listening for emergent wor(l)ds"],"prefix":"10.22501","author":[{"family":"Emma Cocker","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:37Z","timestamp":1784282257000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3920956\/3920957"}},"issued":{"date-parts":[[2025,11,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3920956","published":{"date-parts":[[2025,11,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:20Z","timestamp":1784282960962,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,10]],"date-time":"2026-01-10T00:00:00Z","timestamp":1768003200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition presents a practice-based research investigation into pattern formation using ASCII and Unicode character systems as primary visual material. Working exclusively within live text environments, the project explores how complex visual and architectural structures emerge from rule-based constraints, repetition, and minimal computational resources. Treating text not as language but as material, the work examines generative logic, duration, and modularity as foundations for sustainable, post-material visual research.<\/jats:p>\n keywords: ASCII, Unicode, text as material, pattern systems, rule-based design, generative abstraction, architectural graphic systems, practice-based research, digital minimalism<\/jats:p>","DOI":"10.22501\/rc.4088106","type":"posted-content","created":{"date-parts":[[2026,1,2]],"date-time":"2026-01-02T14:04:03Z","timestamp":1767362643000},"source":"Crossref","is-referenced-by-count":0,"title":["Text as Material: ASCII and Unicode Pattern Systems"],"prefix":"10.22501","author":[{"family":"Rozita Fogelman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:21Z","timestamp":1784282241000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4088106\/4088107"}},"issued":{"date-parts":[[2026,1,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4088106","published":{"date-parts":[[2026,1,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995542,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,4]],"date-time":"2021-06-04T00:00:00Z","timestamp":1622764800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is the presentation of rethinking conceptually, politically, and ideologically the conditions of the re\/production of life, art, and culture in the social and political space in the present moment of neoliberal global capitalism. It is also the basic condition of how society's social and political, machine, and technological layers function.<\/jats:p>\n keywords: transdiciplinarity, migration, Techno Arts, politics<\/jats:p>","DOI":"10.22501\/rc.1260236","type":"posted-content","created":{"date-parts":[[2021,6,4]],"date-time":"2021-06-04T10:33:30Z","timestamp":1622802810000},"source":"Crossref","is-referenced-by-count":0,"title":["Methods of relations"],"prefix":"10.22501","author":[{"family":"Marina Grzinic","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:04Z","timestamp":1784282404000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1260236\/1261822\/56\/0"}},"issued":{"date-parts":[[2021,6,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1260236","published":{"date-parts":[[2021,6,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:07Z","timestamp":1784286307034,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"Waves and Wires: co-creation between a classical guitarist and a composer in developing new music for guitar and electronics by Milda Orvydait\u0117Research supervisor: Patrick van DeurzenMain subject: Classical guitarAbout this exposition:Waves and Wires explores the creative collaboration between classical guitarist and composers in the development of new music for guitar and electronics. As technology becomes increasingly intertwined with contemporary performance, the classical guitar, traditionally associated with acoustic purity, opens up new possibilities for repertoire and performance practice.Through an analysis of the history of co-creation practices within the field of classical guitar, existing works for guitar and electronics and several performer-composer collaborative case studies, I aim to answer the question \u201cHow can a classical guitarist actively contribute to the compositional process when developing new works for classical guitar and electronics?\u201dMilda Orvydait\u0117 is a calssical guitarist with strong interest in contemporary and electroacoustic music. She is currently pursuing a Master\u2019s degree in classical music at the Royal Conservatoire of the Hague under the supervision of Pavel Steidl and Campbell Diamond (Erasmus+ exchange at Anton Bruckner Private University, autumn semester 2025-2026). Her recent practice has led her to an open, experimental space where new conventional acoustic textures meet electronics and new soundscapes.<\/jats:p>\n keywords: co-creation, collaboration, new music, Guitar, performer composer collaboration<\/jats:p>","DOI":"10.22501\/koncon.3974720","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:55:32Z","timestamp":1779803732000},"source":"Crossref","is-referenced-by-count":0,"title":["Waves and Wires: co-creation between classical guitarist and composer in developing new music for guitar and electronics"],"prefix":"10.22501","author":[{"family":"Milda Orvydait\u0117","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:20:32Z","timestamp":1784283632000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3974720\/3974721"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3974720","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:54Z","timestamp":1784286234036,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","license":[{"start":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T00:00:00Z","timestamp":1561680000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2019,6,28]]},"abstract":"'Translucent surface\/Quiet body, redistributed' is a dissemination of artistic research investigating drawing as a choreographic activity and bringing attention to the material, visual and haptic organisations of moving-drawing in relation to gravitational force and surface dimension. Working in residence and on a large table-like construction at the dance research centre L'Animal, Celr\u00e0 in Catalonia, a moving-drawing body was recorded from beneath the receiving surface of the elevated table-top, offering an inverted view of surface contact between static and moving surfaces, between paper-glass and skin as the performing body worked low and close in the horizontal plane. The exposition presents a choreographic view of findings and highlights emergent coinciding capacities of surface (paper, glass, skin, screen) to support, receive, record, touch and display. Art historian Leo Steinberg\u2019s notion of the \u2018flatbed picture plane\u2019 (1972) was reconsidered within a choreographic practice and research of moving-drawing relative to gravity, orientation and distribution of data. The exposition over the two-dimensional online page presents another surface on which to distribute observations, notes, findings as extended making-thinking, as documentary work-surface - and as flatbed.<\/jats:p>\n keywords: choreography, drawing, flatbed picture plane, haptic visuality, surface dimension, orientation, dissemination<\/jats:p>","DOI":"10.22501\/jar.291635","type":"journal-article","created":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T04:28:27Z","timestamp":1561696107000},"source":"Crossref","is-referenced-by-count":0,"title":["Translucent surface\/Quiet body, redistributed"],"prefix":"10.22501","author":[{"family":"Katrina Brown","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:53Z","timestamp":1784282933000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/291635\/291636"}},"issued":{"date-parts":[[2019,6,28]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/jar.291635","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2019,6,28]]}},{"indexed":{"date-parts":[[2026,6,2]],"date-time":"2026-06-02T13:34:54Z","timestamp":1780407294765,"version":"3.54.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0004","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:23:14Z","timestamp":1538061794000},"source":"Crossref","is-referenced-by-count":12,"title":["What is artistic research?"],"prefix":"10.22501","author":[{"given":"Julian","family":"Klein","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","published-online":{"date-parts":[[2017,4,23]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:45Z","timestamp":1742292165000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/what-artistic-research"}},"issued":{"date-parts":[[2017,4,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0004","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2017,4,23]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:11Z","timestamp":1784369051146,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2019,9,23]],"date-time":"2019-09-23T00:00:00Z","timestamp":1569196800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2019,9,23]]},"abstract":"The life studio is an eccentric place and this exposition is populated by eccentric characters. The drawings and photographs contained in this research have all been created by studio puppets. Each puppet's awkward methods of working \u2014 stabbing, pulling, twisting a clutching hand \u2014 magnify the work\u2019s unorthodox strategy. Puppets will illuminate the idiosyncrasies, malfunctions and estrangements typically surfeited in the life studio\u2019s private sphere. This research responds to the work of E.T.A. Hoffmann (\u2018Spin, puppet, spin\u2019) and George M\u00e9li\u00e8s; puppet\/art hybrid exhibitions; the Puppet Master horror franchise; and the lay figure of Gustave Courbet. Puppets are not alien in the life studio. Although they were typically concealed in the artist's process and hidden from public view, they were common fixtures until the 20th century. This exposition estranges artists and models from the life drawing apparatus and invites puppets to make pictures.<\/jats:p>\n keywords: drawing, puppets, life drawing, malfunction, estrangement, artist and model<\/jats:p>","DOI":"10.22501\/vis.562761","type":"journal-article","created":{"date-parts":[[2019,12,14]],"date-time":"2019-12-14T12:08:06Z","timestamp":1576325286000},"source":"Crossref","is-referenced-by-count":0,"title":["Spin, Puppet, Spin: Drawing Estrangement"],"prefix":"10.22501","author":[{"family":"William Platz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:16:06Z","timestamp":1784366166000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/562761\/562762"}},"issued":{"date-parts":[[2019,9,23]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/vis.562761","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2019,9,23]]}},{"indexed":{"date-parts":[[2025,12,6]],"date-time":"2025-12-06T16:58:37Z","timestamp":1765040317554,"version":"3.46.0"},"posted":{"date-parts":[[2025,12,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,6]],"date-time":"2025-12-06T00:00:00Z","timestamp":1764979200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition explores emergent patterns in cultural entrepreneurship, grounded in empirical reflections from a cohort of early-career cultural practitioners. Drawing on anonymized theses and defense feedback from the Arts and Cultural Entrepreneurship master\u2019s programme at Stockholm University of the Arts, the article identifies three core themes: tensions between artistic practice and entrepreneurial imperatives; the role of networks in sustaining practice; and the emergence of care as both method and ethic. Situated within the fields of artistic research, pedagogy, and cultural theory, the exposition offers a multi-layered reflection on what it means to navigate uncertainty and create meaning in contemporary cultural work. The piece integrates theoretical perspectives on effectuation, narrative and embodied knowledge, slow design, and behavioral insights to illuminate how cultural entrepreneurs build viable, sustainable practices in volatile environments.<\/jats:p>\n keywords: Entrepreneurship, pedagogy, education, cultural entrepreneurship, reflective practice, artistic research, effectuation theory, entrepreneurial pedagogy, networks and collaboration, care ethics, creative industries<\/jats:p>","DOI":"10.22501\/rc.4010574","type":"posted-content","created":{"date-parts":[[2025,12,6]],"date-time":"2025-12-06T16:49:56Z","timestamp":1765039796000},"source":"Crossref","is-referenced-by-count":0,"title":["Emergent Patterns in Cultural Entrepreneurship: Navigating Tensions, Building Networks, and Cultivating Care"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-8242-6027","authenticated-orcid":false,"family":"Christer Windel\u00f8v-Lidzelius","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,12,6]],"date-time":"2025-12-06T16:49:56Z","timestamp":1765039796000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4010574\/4010573"}},"issued":{"date-parts":[[2025,12,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4010574","published":{"date-parts":[[2025,12,6]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:37Z","timestamp":1784368957452,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2019,11,6]],"date-time":"2019-11-06T00:00:00Z","timestamp":1572998400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,6]]},"abstract":"Hanne Darboven\u2019s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page W\u00fcnschkonzert (1984), and was composed during her period of making \u201cmathematical music\u201d based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.<\/jats:p>\n keywords: Minimalism, Hanne Darboven, Opus 17a, Double Bass, Extended Duration, Unfolding, minimalism, hanne darboven, opus 17a, double bass, extended duration, unfolding<\/jats:p>","DOI":"10.22501\/nmh-ar.481276","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T08:03:18Z","timestamp":1618300998000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing Hanne Darboven's Opus 17a and long duration minimalist music"],"prefix":"10.22501","author":[{"family":"Michael Duch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:04:22Z","timestamp":1784365462000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/481276\/481277"}},"issued":{"date-parts":[[2019,11,6]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.481276","published":{"date-parts":[[2019,11,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:02:58Z","timestamp":1784289778803,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2024,10,29]]},"abstract":"This exposition refers to arts-based research on simultaneous performative walking and singing practice in a changing environment. The act of walking is put in the context of landscape and singing representing two aspects of relation to the environment \u2013 inner and outer landscape. The object of research is traditional and authorial songs and their bodily and sensual interconnection with the process of experiencing landscape. This experience is gained with a group of artists and environmentalists who have over the course of more than a year repetitively walked through the landscape of the natural park Prokop Valley in Prague and its adjacent urban areas. Qualitative research is taken within the project \u201cWalking as a liquid constant in urban space and landscape\u201d. The method of data collection uses mental maps, inspired by the concept of Kevin Lynch, as a means of documentation. The exposition has three parts 1) the opening video essay, 2) Opus caementicium, autoethnographic reflection of the site, where the project takes place, and 3) Fugue of the vanishing world \u2013 an essay on the musical aspect of the project. Chapter titles are inspired by musical terminology that has content connotations in the text or mirrors the structuring of text and musical compositions.<\/jats:p>\n keywords: performative walking, arts-based research, environmental art, Non-Place, Site-specific;, theatre anthropology<\/jats:p>","DOI":"10.22501\/ruu.2245462","type":"journal-article","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T04:16:43Z","timestamp":1730175403000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing the changing landscape"],"prefix":"10.22501","author":[{"family":"Al\u017eb\u011bta Trojanov\u00e1","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:03Z","timestamp":1784286303000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2245462\/2246714"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2245462","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2024,10,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:28Z","timestamp":1784290048157,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2017,12,14]],"date-time":"2017-12-14T00:00:00Z","timestamp":1513209600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,12,14]]},"abstract":"In contemporary neoliberal capitalism, sound is increasingly employed to modulate the affective tonalities of environments and, as a result, attune bodies to everyday habitual regimes of conduct. In this paper, I argue that comprehending this new mode of sonic governance requires going beyond cultural theories that approach politics in terms of a symbolic struggle over meaning. Instead, I attempt to analyze Coffitivity \u2013 a web service that transmits recordings of ambient noise from coffee shops in order to boost the creative capabilities of workers \u2013 according to posthegemonic theory, positing it as a sonic apparatus designed to modulate the affective environment in such a way as to habituate the distributed multitude into a regime of ubiquitous work. Consequently, I claim that posthegemonic analysis can provide insights into the potential of sound to immanently modulate the field of embodied interactions, thereby contributing to the development of new techniques of power in contemporary neoliberal capitalism.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.409483","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:21Z","timestamp":1733131641000},"source":"Crossref","is-referenced-by-count":0,"title":["Managing the Sonic Environment: Ambient Noise, Creativity and the Regime of Ubiquitous Work"],"prefix":"10.22501","author":[{"family":"Artur Szarecki","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:45:56Z","timestamp":1784288756000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/409483\/409484"}},"issued":{"date-parts":[[2017,12,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jss.409483","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2017,12,14]]}},{"indexed":{"date-parts":[[2022,4,5]],"date-time":"2022-04-05T01:10:21Z","timestamp":1649121021770},"posted":{"date-parts":[[2012,2,11]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.17116","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:55:52Z","timestamp":1498067752000},"source":"Crossref","is-referenced-by-count":0,"title":["Body Issues in Performance Art: Between Theory and Praxis"],"prefix":"10.22501","author":[{"family":"Andrea Pagnes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2017,7,11]],"date-time":"2017-07-11T20:14:53Z","timestamp":1499804093000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/17116\/17117"}},"issued":{"date-parts":[[2012,2,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.17116","published":{"date-parts":[[2012,2,11]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:07Z","timestamp":1742358187090,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0009","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:47:41Z","timestamp":1538063261000},"source":"Crossref","is-referenced-by-count":0,"title":["Passivity as activity"],"prefix":"10.22501","author":[{"given":"Saara","family":"Hacklin","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2018,5,20]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:49Z","timestamp":1742292169000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/passivity-activity"}},"issued":{"date-parts":[[2018,5,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0009","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2018,5,20]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:02Z","timestamp":1742294402971,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0034","type":"report","created":{"date-parts":[[2020,10,27]],"date-time":"2020-10-27T22:38:17Z","timestamp":1603838297000},"source":"Crossref","is-referenced-by-count":0,"title":["The design of expositions"],"prefix":"10.22501","author":[{"given":"Tero","family":"Heikkinen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,10,27]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:06Z","timestamp":1742292186000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/design-expositions"}},"issued":{"date-parts":[[2020,10,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0034","published":{"date-parts":[[2020,10,27]]}},{"indexed":{"date-parts":[[2022,8,22]],"date-time":"2022-08-22T14:11:43Z","timestamp":1661177503092},"posted":{"date-parts":[[2022,8,22]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1720318","type":"posted-content","created":{"date-parts":[[2022,8,22]],"date-time":"2022-08-22T13:53:31Z","timestamp":1661176411000},"source":"Crossref","is-referenced-by-count":0,"title":["Bureau de Crise"],"prefix":"10.22501","author":[{"family":"Marta Revuelta","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2022,8,22]],"date-time":"2022-08-22T13:53:31Z","timestamp":1661176411000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1720318\/1720319"}},"issued":{"date-parts":[[2022,8,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1720318","published":{"date-parts":[[2022,8,22]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:35Z","timestamp":1784369015567,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2023,3,14]],"date-time":"2023-03-14T00:00:00Z","timestamp":1678752000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2023,3,14]]},"abstract":"This exposition opens up the memory space of a landscape that carries a collective knowledge of the events of the Second World War in S\u00f8r\u00f8ya, an isolated region far in northern Norway. Inside its landscape voids, the island conceals places that once became a refuge for half of the region\u2019s inhabitants. In this research project, artists ask themselves what collective memory is and how the landscape opens up an alternative public space in its own depths. How do the caves of the island of S\u00f8r\u00f8ya carefully hide and preserve the memory of the events of the Second World War, and how do these events fade into the shadows of Norway\u2019s inhabitants\u2019 social memory?This exposition shows one chapter of our ongoing research project Dunke-Dunk, where the landscape is becoming the cavescape and the cavescape is becoming the humanscape through the artists\u2019 long field trips to the region, their bodily immersion in caves, and an endless evagation searching for what preserves the memory of the touch of the Second World War through the [re]reading of archives, all the while collecting stories from the inhabitants and the terrain from an architectural and artistic perspective.<\/jats:p>\n keywords: Human Ecology, WWII History, Public Landscape, Alternative Archives, Social Memory<\/jats:p>","DOI":"10.22501\/vis.1659054","type":"journal-article","created":{"date-parts":[[2023,3,14]],"date-time":"2023-03-14T07:38:53Z","timestamp":1678779533000},"source":"Crossref","is-referenced-by-count":0,"title":["[Re] Mapping of Being \u2013 Landscape\/Cavescape\/Humanscape"],"prefix":"10.22501","author":[{"family":"Nina Tsy, Nataliia Korotkova (IIAKO)","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:10:39Z","timestamp":1784365839000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1659054\/1855069"}},"issued":{"date-parts":[[2023,3,14]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/vis.1659054","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2023,3,14]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:48Z","timestamp":1784368968558,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,10,17]],"date-time":"2019-10-17T00:00:00Z","timestamp":1571270400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,10,17]]},"abstract":"For many years I was a part of a performance group called Verdensteatret. We made large scale performances and installations. They were often dense with information. Speech, movements, video, lights, sounds and music, all utilizing their full scales at once, fast to slow, loud to soft, bright to dark and so forth. This meant that we had many situations where the amount of information was overwhelming. Anyone attending would have to make choices of where to focus and what to follow. I recall sitting in rehearsal for the work Louder (Verdensteatret 2007) thinking: Isn\u2019t that sound finishing off Marius\u2019 movement? They are both coming to a halt after finishing a similar arch through the room. And the sound continues ten seconds after Marius has stopped. They start together but finish separately. A connection appears as they separate. The connection is clear for the ten seconds between when Marius is finished, and the sound finishes in a similar manner as Marius did. Nothing else enters and connects more strongly to either and their initial connection is strong since they start out as if in unison. I didn\u2019t think all this then, it\u2019s only now that I can put words to it. After all things are indications before they become phenomena (Bachelard 1958, 176).This glimpse and my imaginative memory is the basis for organized time. Through this research project I have tried to recreate this glimpse, to isolate it and force it to show itself. It has been a hunt. I started fiddling about, juxtaposing things and hoping for a dialectic miracle and as things became more clear I increased precision and gradually formulated a strategy for transmedial composition.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.628657","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T07:13:48Z","timestamp":1618298028000},"source":"Crossref","is-referenced-by-count":0,"title":["Organized time"],"prefix":"10.22501","author":[{"family":"Christian Blom","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:04:57Z","timestamp":1784365497000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/628657\/628658"}},"issued":{"date-parts":[[2019,10,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.628657","published":{"date-parts":[[2019,10,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:38Z","timestamp":1784283038702,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The mode and terms of conversations completely changed. Mediated sight and sound became the tools and interfaces for the same over digital space.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1275117","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T03:15:31Z","timestamp":1622690131000},"source":"Crossref","is-referenced-by-count":0,"title":["CONVERSATIONS"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:08Z","timestamp":1784282408000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1275117\/1275118"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1275117","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:22Z","timestamp":1784286502632,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2016,6,14]],"date-time":"2016-06-14T00:00:00Z","timestamp":1465862400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,14]]},"abstract":"Student name and number: Aurore Montaulieu, 3048780Main subject: CelloResearch supervisor: Dr. Anna ScottResearch Paper Title: How Adrien-Fran\u00e7ois Servais (1807-1866) Improved the Cello Technique During the 19th CenturyResearch Question: With particular focus on his scores, how did Adrien-Fran\u00e7ois Servais advance cello technique in the middle of the 19th century, and with what implications for modern performers?Summary of Results: Widely considered to have been the 'Paganini of the Cello,' Adrien-Fran\u00e7ois Servais (1807 - 1866) was one of the most famous cellists of the 19th century, and is best known today for his 6 Caprices Op. 11. Many modern performers however are unaware of Servais\u2019s numerous and important contributions to the history of cello construction, playing style, and technique. After a brief overview of notable cellists (including Duport, Romberg, and Dotzauer) and playing techniques (including vibrato, portamento, and bow-holds) that coexisted at the beginning of the 19th century, this research paper goes on to examine Servais\u2019s life and work as an independent concert artist. While Servais did not leave behind any methods or treatises, a close study of contemporaneous accounts of his playing style, technique, instrument preferences, concert programs, and his association with many of the leading composers of his day reveals his enduring contributions to the rise of the cello as a vehicle for the new Romantic virtuoso style. Most notable among these contributions were his standardization of the use of the endpin, his wide-ranging and successful career as a touring performer, and the invaluable impression he left on the younger generation of cellist-composers (including Davidov and Popper). It is however an in-depth analysis of his Fantaisie 'Souvenir de Saint-P\u00e9tersbourg' Op. 15 that ultimately reveals the most revolutionary and innovative aspects of his technique and playing style: from his fingering, shifting, and use of harmonics, to his bowing, phrasing, articulation, arpeggiation, use of thumb position, and extroverted approach - elements that have all gone on to form the basis of modern cello playing. During my presentation I intend to provide an overview of these findings, and to demonstrate evidence of Servais's technical and stylistic achievements as revealed by his Fantaisie Op. 15 on my own instrument.Biography:Aurore Montaulieu is a French cellist. Born in Cannes, she started her musical studies at the age of 4. In 2012, she graduated with her Bachelors degree from the P\u00f4le Sup\u00e9rieur of Paris-Boulogne-Billancourt in H\u00e9l\u00e8ne Dautry\u2019s class. Aurore is currently in the Orchestra Masters program at the Royal Conservatory of The Hague in Michel Strauss and Jan-Ype Nota\u2019s class. She has had the opportunity to receive guidance from great musicians such as F. Helmerson, G. Hoffman, P. Wispelway and D. Geringas. In 2012, she joined the Orchestre de Paris\u2019s Academy and is a member of the Gustav Mahler JugendOrchester since 2014. Aurore Montaulieu plays a Roberto Masini cello built for her in 2010.<\/jats:p>\n keywords: Cello, 19th century, Adrien-Fran\u00e7ois Servais, composer, romanticism<\/jats:p>","DOI":"10.22501\/koncon.115562","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:47:38Z","timestamp":1725907658000},"source":"Crossref","is-referenced-by-count":0,"title":["Adrien-Fran\u00e7ois Servais\u2019s contribution to the evolution of the cello technique"],"prefix":"10.22501","author":[{"family":"Aurore Montaulieu","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:53:29Z","timestamp":1784285609000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/115562\/115563"}},"issued":{"date-parts":[[2016,6,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.115562","published":{"date-parts":[[2016,6,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:54Z","timestamp":1784286474923,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2014,9,5]],"date-time":"2014-09-05T00:00:00Z","timestamp":1409875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Jo\u00e3o Diogo Rosas Leit\u00e3oMain Subject: GuitarResearch Coach: Enno VoorhorstTitle of Research: \u201cInvocaci\u00f3n y Danza \u2013 Homenaje a Manuel de Falla\u201d - a new light on the piece brought by the manuscriptResearch Question:How to deal with the different editions and solve the problems in the manuscript in order to get a playable and faithful version of \u201cInvocaci\u00f3n y Danza \u2013 Homenaje a Manuel de Falla\u201d by Joaquin Rodrigo?Research Process:Two main topics were focused on in my research:An understanding of Joaquin Rodrigo's life, both personal and musical, focusing on his relationship with the guitar and the details behind the composing process of \u201cInvocaci\u00f3n y Danza\u201d and the appearance of the manuscript. A comparison of the different editions of the score and the manuscript, noticing where each one of them differs from the other and how and trying out the different possibilities and solutions for each problematic spot.Summary of Results:Although I could not prove without a doubt that the manuscript available is the one that was sent for the Paris competition, I gathered strong evidence that can support this theory.With this manuscript we can see that some of the original ideas are actually not possible to play in the guitar, since Rodrigo did not play the guitar, and there are some doubts regarding the handwriting and the fact that it was a handmade copy made in a hurry. Apparently this manuscript disappeared after the first edition and all the following editions, that were trying to solve some of the doubts and difficult passages of the piece, were based on that same first edition.By comparing all the different details in each score and by creating and trying out new options and solutions I managed to make a new edition that is a compromise between the original idea and musical intention from the manuscript and a technically comfortable and playable score.<\/jats:p>\n keywords: Manuel de Falla, Rodrifo, Joaquin, edition, manuscript<\/jats:p>","DOI":"10.22501\/koncon.29586","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:49:25Z","timestamp":1725907765000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cInvocaci\u00f3n y Danza \u2013 Homenaje a Manuel de Falla\u201d - a new light on the piece brought by the manuscript."],"prefix":"10.22501","author":[{"family":"Jo\u00e3o Diogo Rosas Leit\u00e3o","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:57:47Z","timestamp":1784285867000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/29586\/29587"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.29586","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977072,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,20]],"date-time":"2026-02-20T00:00:00Z","timestamp":1771545600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"*\u201cAs imagens s\u00e3o produzidas para orientar o homem no mundo. Quando este esquecimento acontece, a imagina\u00e7\u00e3o torna- se alucina\u00e7\u00e3o, e o homem torna-se incapaz de decifrar imagens.\u201d*\u00b9<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3891518","type":"posted-content","created":{"date-parts":[[2026,2,20]],"date-time":"2026-02-20T15:18:32Z","timestamp":1771600712000},"source":"Crossref","is-referenced-by-count":0,"title":["Sobre a Luz Artificial"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0004-1303-5453","authenticated-orcid":false,"family":"Giselle Hinterholz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:09Z","timestamp":1784282229000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3891518\/3891519"}},"issued":{"date-parts":[[2026,2,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3891518","published":{"date-parts":[[2026,2,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:48Z","timestamp":1784282928785,"version":"3.55.0"},"posted":{"date-parts":[[2026,5,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T00:00:00Z","timestamp":1777593600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Curator\u2019s Shadow: The Unspoken Authorship Behind Neutrality examines the persistent fiction of curatorial neutrality within modern and contemporary museology, reframing the curator as an invisible yet decisive author of the exhibitionary encounter. Drawing on historical analysis from Enlightenment-era taxonomic displays to contemporary global curatorial practice, the article argues that neutrality operates not as absence, but as a rhetorical and institutional posture that conceals authorship while intensifying its power. Through a Post-Interpretive Criticism framework, the exhibition is reconceived as a spatial text in which sequencing, lighting, distance, and omission function as syntactic and ethical decisions rather than logistical ones.The study traces how curatorial authority evolved from custodianship of objects to governance of narrative, revealing the exhibition as a structured field of visibility shaped by ideological, architectural, and institutional inheritances, including colonial epistemologies and modernist claims to universality. By analyzing the curatorial role as a form of \u201cmoral choreography,\u201d the article foregrounds how exhibition design mediates the viewer\u2019s encounter with trauma, beauty, and knowledge, determining whether the experience produces reverence, detachment, or consumption.Engaging key figures such as Harald Szeemann, Okwui Enwezor, and Hans-Ulrich Obrist, the article situates the shift from curatorial invisibility to auteurship, identifying the contemporary challenge as neither neutrality nor self-display, but the cultivation of disciplined authorship. Within this context, Post-Interpretive Criticism proposes an ethical reorientation: the curator as witness rather than interpreter, whose task is to preserve the conditions of meaning rather than impose it.The article further introduces the concept of \u201ccuratorial shadow\u201d as a diagnostic lens for evaluating institutional power, where silence, absence, and spatial arrangement are treated as forms of authorship with measurable ethical consequences. It argues for a redefinition of neutrality as ego-restraint rather than objectivity, and for the transformation of exhibition-making into an ethics of care grounded in humility, proximity, and responsibility.Ultimately, the article positions curatorial practice as a threshold condition\u2014an act of structuring encounter without closure\u2014where the success of an exhibition is measured not by the clarity of its message, but by its capacity to sustain the viewer\u2019s presence without domination. In doing so, it contributes to the broader Post-Interpretive movement by extending its principles beyond criticism into the architecture of display, offering a philosophical and methodological foundation for ethically attuned exhibition-making in the twenty-first century.Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Adab for Art, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, The Journal of Post-Interpretive criticism, The Journal of Post-Interpretive criticism ISSN 2819-7232), The Journal of Post-Interpretive Criticism (Q136530009), Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608),<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Epoch\u00e9 Fidelity Index (EFI), Phenomenological Phase Alignment Score (PPAS), Residue Engagement Restraint Ratio (RERR), Quasi-Subject Agency Recognition Index (QSARI), Dialectical Circulation Index (DCI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Ontology of beauty, Silence as method, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Aesthetic Phenomenology, Phenomenology, Phenomenology of Aesthetic, post-hermeneutics phenomenology, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Erasure as Afterlife, Language as Custody, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Criticism beyond interpretation, Ethical art theory, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4401114","type":"posted-content","created":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T19:26:41Z","timestamp":1777663601000},"source":"Crossref","is-referenced-by-count":0,"title":["The Curator's Shadow: The Unspoken Authorship Behind Neutrality."],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:42Z","timestamp":1784282202000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4401114\/4401113"}},"issued":{"date-parts":[[2026,5,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4401114","published":{"date-parts":[[2026,5,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025319,"version":"3.55.0"},"posted":{"date-parts":[[2023,5,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,5,26]],"date-time":"2023-05-26T00:00:00Z","timestamp":1685059200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Media repository published as part of Halla Steinunn Stef\u00e1nsd\u00f3ttir's doctoral thesis 'H\u00c9R! An Exploration of Artistic Agency' (2023). See here: https:\/\/bit.ly\/LUResearchPortalAbstract:This doctoral thesis is concerned with agency in the work of a performer, curator, and composer, and how these agencies are socio-culturally constructed. Grounded in creative practice as primary research methodology, the project builds on feedback loops between creation, analysis, and interpretation. The aim is to better understand the conventional norms that define the roles of composer and performer and, further, to explore more dynamic approaches to these agencies through the perspectives of a composer, performer, and curator active in the fields of contemporary music and sound art. The project responds to the following research questions:o How can ecological-enactive and post-phenomenological perspectives on musical practice within Western classical music challenge current understandings of the roles of performer and composer?o What artistic methods can be employed to provide a more robust understanding of the fluidity of these roles, to uncover their potential for artistic renewal in the creation and performance of contemporary music?The research was designed as a series of micro-laboratories to look at agency through artistic collaboration in situations set in the concert hall, the recording studio, the virtual domain, and ecological sound art. This resulted in electroacoustic compositions, multi-channel installations, and site-specific work, including performances within a sonic hologram and with artificial intelligence. The analytical approach was built on autoethnography, and audio and video analysis through stimulated recall.The findings outline how the technological, non-human, and human agencies of environments affect and shape processual work. The analysis highlights how co-relation between theory and practice may both serve to unpack the pre-conditioning of agency, while the artistic experimentation in the laboratories seeks to explore other agential relations. Here, the intentionality of the technologies used in the lab have unfolded new perspectives on the conventional roles of composer and performer, while enabling the development of more dynamic practices. Through a study of the author\u2019s curatorial practice, the role of a curator is understood not as defined by prescribed methods, but rather as dependent on the negotiation of the many agencies at play in artistic practice. The method development of the project has implications for the design of artistic research through the model of the laboratory. Herein, the use of audio and video technologies, particularly their application within stimulated recall methods, are integrated parts of analysis and artistic creation. The artistic research laboratory is proposed as a framework through which the potential of artistic research in music\u2014as a vehicle for the development of new practices in professional contexts and in teaching environments\u2014is substantiated and facilitated.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2109128","type":"posted-content","created":{"date-parts":[[2023,5,26]],"date-time":"2023-05-26T07:04:35Z","timestamp":1685084675000},"source":"Crossref","is-referenced-by-count":0,"title":["H\u00c9R! An Exploration of Artistic Agency - Media Repository"],"prefix":"10.22501","author":[{"family":"Halla Steinunn Stef\u00e1nsd\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:30Z","timestamp":1784282370000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2109128\/2109129"}},"issued":{"date-parts":[[2023,5,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2109128","published":{"date-parts":[[2023,5,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996047,"version":"3.55.0"},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In artistic research, the \u2018reflective practice\u2019 promoted by Donald Sch\u00f6n (1983) runs the risk of mere self-gratification. More perspectives need to be put into the equation, into something more \u2018diffractive\u2019, as Donna Haraway (1997) would say.As part of artistic research we could be inspired by, and use, a wide range of methods for navigating a research process and take the journey into safer waters. Here we<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.7967","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:09Z","timestamp":1497983829000},"source":"Crossref","is-referenced-by-count":0,"title":["Research Navigations"],"prefix":"10.22501","author":[{"family":"Otto von Busch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:24Z","timestamp":1784282184000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/7967\/7968"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.7967","published":{"date-parts":[[2011,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:52Z","timestamp":1784283052222,"version":"3.55.0"},"posted":{"date-parts":[[2015,8,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2015,8,5]],"date-time":"2015-08-05T00:00:00Z","timestamp":1438732800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In general, art contains in itself a revolutionary quid, as the artist - through his\/her work - provides an opportunity to look at the world in a different way from that to which one was used. The art has a function of perceptive awakening and therefore of sensorial activation. This is revolutionary, because it can change your perception of life that you have had up to that time. Out of this perspective, to reconsider artist in residencies as not mere hosting institutional containers, but as laboratories of continuative production of thoughts and ideas, might also reinforce the concept that a work of art is thus the end result of a specific process \u2013 possessing specific forms and aesthetic, and that it serves no purpose except that of channelling a very specific form of energy. It\u2019s always a sort of communicative performance. It allows man to plumb his\/her own conscience and to void it, as it\u2019s only within empty spaces that energy can unleash its creative force. For it, it is required great effort and care not just from the artist who's temporarily involved, but from the ones who run the artist in residencies themselves.<\/jats:p>\n keywords: Art, Contemporary art, Free thinking, artistic research, art education, Residencies, Laboratorial activity, think tank<\/jats:p>","DOI":"10.22501\/rc.207553","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:53:49Z","timestamp":1498053229000},"source":"Crossref","is-referenced-by-count":0,"title":["Reconfiguring Think Tanks as a discursive, social model in contemporary art | Residencies as places of continuity, mutuality, free thinking and independent research"],"prefix":"10.22501","author":[{"family":"Andrea Pagnes","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:01Z","timestamp":1784282461000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/207553\/207554"}},"issued":{"date-parts":[[2015,8,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.207553","published":{"date-parts":[[2015,8,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:54Z","timestamp":1784283054536,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T00:00:00Z","timestamp":1608249600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The aim of this body of work is to explore translation, the act of communicating the meaning of one phenomenon (the source) to another phenomenon (the target) through musical composition. This is illustrated by three related works that translate different events\/objects into musical experiences: 1. Fourteen Minutes of Music on the Subject of Greeting Cards2. Forty-Five Minutes of Music on the Subject of Football3. ireland englandThe intention is to create interesting structures through innovative compositional techniques that may be taken up by others. The act of translation imbues the musical work with meaning relating to our lived experiences. As a result, composition as lived experience becomes the overarching narrative, highlighting a departure from more abstract concerns to hyper-personal ones.<\/jats:p>\n keywords: Music and performing arts 2021<\/jats:p>","DOI":"10.22501\/rc.947247","type":"posted-content","created":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T07:39:49Z","timestamp":1608277189000},"source":"Crossref","is-referenced-by-count":0,"title":["Translation as a Compositional Strategy"],"prefix":"10.22501","author":[{"family":"Se\u00e1n Clancy","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:27Z","timestamp":1784282427000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/947247\/947248"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.947247","published":{"date-parts":[[2020,12,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:51Z","timestamp":1784286351963,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,22]],"date-time":"2025-05-22T00:00:00Z","timestamp":1747872000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,22]]},"abstract":"This research examines Giovanni Battista Bovicelli\u2019s Regole, passaggi di musica (Venice, 1594), a Renaissance treatise on (vocal) ornamentation. By analyzing Bovicelli\u2019s diminutions, this research aims to identify his characteristic stylistic elements as a composer and singer. Beyond defining these elements, the findings provide a solid foundation for comparing his style with that of Giovanni Bassano, previously studied, and for applying Bovicelli\u2019s techniques in newly written diminutions. More broadly, this study contributes to a deeper understanding of late 16th-century Italian diminution practice.Bovicelli\u2019s treatise offers information for singers about text placement, presents examples of diminutions for various intervals, cadences, and melodic contexts, and includes his own diminuted lines of well-known pieces of the time. This research focuses specifically on the examples of diminutions, analyzing them according to seven musical criteria: note values, range, intervals, melodic sequences, rhythmic patterns and\/or sequences, standard figures such as trills and turns, and ficta application. Additionally, in cadences and melodic contexts, the extent to which the original melody is preserved is assessed. The results of this analysis are presented in tables and graphs for a clear overview.Additionally, the research includes a comparative analysis of Bovicelli\u2019s and Bassano\u2019s diminution styles, clarifying both their individual characteristics and, very carefully, broader trends in 16th-century Italian diminution practice. Furthermore, newly composed diminutions in Bovicelli\u2019s style demonstrate the practical application of the findings. These diminutions are written on the well-known Anchor che col partire by Cipriano de Rore (1516-1565).<\/jats:p>\n keywords: 16thcentury, diminutions, historically informed performance<\/jats:p>","DOI":"10.22501\/koncon.2321557","type":"journal-article","created":{"date-parts":[[2025,5,22]],"date-time":"2025-05-22T05:27:16Z","timestamp":1747891636000},"source":"Crossref","is-referenced-by-count":0,"title":["A study of Giovanni Battista Bovicelli's\u00a0Regole, passaggi di musica"],"prefix":"10.22501","author":[{"family":"Kristy van Dijk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:25:07Z","timestamp":1784283907000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2321557\/3179068"}},"issued":{"date-parts":[[2025,5,22]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2321557","published":{"date-parts":[[2025,5,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030334,"version":"3.55.0"},"posted":{"date-parts":[[2024,11,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,11,15]],"date-time":"2024-11-15T00:00:00Z","timestamp":1731628800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Visual analysys of a lawn in a public and private space as a universally understood image of wealth , leisure , minimalist aesthetic<\/jats:p>\n keywords: Lawn, culture, VISUAL CULTURE<\/jats:p>","DOI":"10.22501\/rc.3177225","type":"posted-content","created":{"date-parts":[[2024,11,15]],"date-time":"2024-11-15T04:01:37Z","timestamp":1731643297000},"source":"Crossref","is-referenced-by-count":0,"title":["Lawn - universal human space beyond suburbia"],"prefix":"10.22501","author":[{"family":"Jacob Neman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:32Z","timestamp":1784282312000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3177225\/3177226"}},"issued":{"date-parts":[[2024,11,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3177225","published":{"date-parts":[[2024,11,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:23Z","timestamp":1784369063269,"version":"3.55.0"},"posted":{"date-parts":[[2025,4,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T00:00:00Z","timestamp":1745280000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research project reflects a deeply personal exploration of the ritualistic and symbolic aspects of music, from the perspective of my own practice a soloist. It touches on the idea that the act of creating sound is not merely a technical or performative endeavor, but a sacred, energetic exchange. The fingertips, as the primary point of contact between the musician and their instrument, are seen as a portal\u2014an interface between the inner world of the musician and the outer world of sound, music, and the present moment.<\/jats:p>\n keywords: spatial arts, tactility, rituality, ceremony, interrelationship, RMC alumni, solowork, object-body relationship, soundspaces, Guitar, transcendence, improvisation, intuition, composition process, musical and artistic development<\/jats:p>","DOI":"10.22501\/rmc.1245678","type":"posted-content","created":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T04:41:46Z","timestamp":1745296906000},"source":"Crossref","is-referenced-by-count":0,"title":["Spatiality and the Tactile Experience"],"prefix":"10.22501","author":[{"family":"Anders Holst","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:17:33Z","timestamp":1784366253000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1245678\/1245679"}},"issued":{"date-parts":[[2025,4,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rmc.1245678","published":{"date-parts":[[2025,4,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:42Z","timestamp":1784286342958,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,6,18]],"date-time":"2024-06-18T00:00:00Z","timestamp":1718668800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,6,18]]},"abstract":"This research project explores South African Art Music through collaborative practice and the classical saxophone. It begins by investigating the discourse surrounding South African Art Music through testimony collected from various conversations with South African composers, musicians and academics such as Dr Kevin Volans, Dr Antoni Schonken, Professor Hendrik Hofmeyr, Dr Cara Stacey and Arthur Feder. I began collecting the scores of South African saxophone compositions which led to the development of an online catalogue system to document these works -The South African Saxophone Catalogue. This catalogue forms the base - as well as the network - for how this research was developed.To further investigate the South African repertoire, I embarked on creative journeys with four South African composers through performer-composer collaboration. I decided to use this means of investigation as the relationship formed between myself and these composers shows a different level of engagement with this music, first-hand experience in the creation of this music as well as creating an open space for discourse. These collaborations were documented through reflections, audio and video recordings and are investigated in the form of case studies. The final artistic product was a concert featuring these new compositions in Cape Town, South Africa. The data collected was organised through an amalgamation of critical reflection and thematic analysis. Through this collective music-making, I discovered the variety in thought surrounding South African Art Music and paradoxically those who vigorously deny this term. I discovered the complexity both politically and socially that the term South African Art Music implies. In conjunction with my personal reflections, this exposition explores the ideas, opinions and art of individuals in various fields in the South African classical music scene who represent a variety of South African cultural backgrounds and generations.<\/jats:p>\n keywords: collaboration, south africa, performer-composer collaboration, classical saxophone, saxophone, south african art music<\/jats:p>","DOI":"10.22501\/koncon.2362084","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:01Z","timestamp":1725906961000},"source":"Crossref","is-referenced-by-count":0,"title":["Finding Home: An Exploration of South African Art Music through the Classical Saxophone and Collaborative Practice"],"prefix":"10.22501","author":[{"family":"Josie Mc Clure","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:27:24Z","timestamp":1784284044000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2362084\/2362085"}},"issued":{"date-parts":[[2024,6,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2362084","published":{"date-parts":[[2024,6,18]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:30Z","timestamp":1784286510912,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2016,10,13]],"date-time":"2016-10-13T00:00:00Z","timestamp":1476316800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,10,13]]},"abstract":"The richness and variety of sound in field recordings has inspired numerous electro-acoustic and soundscape compositions, but what about the traditional composition realm? Is there a way to translate for and combine soundscapes with another medium? \u201cHow can field recordings be used as a source for instrumental compositions?\u201d is the main research question under investigation here, which developed out of my creative pursuits in composing for instruments and field recordings. The first method I personally applied was to transcribe a field recording by ear for a mixed ensemble for Train, which simultaneously played the transcription with the original audio. The process and results of this piece prompted me to think and read more about mimesis in music, and how the two worlds of electro-acoustic\/soundscape and instrumental music can combine. This research paper contains a short introduction to the historical context of mimesis in music (vocal\/instrumental and electro-acoustic) to provide the connection of current trends to the past. To investigate the main approaches I proceeded to analyze and categorize music of field recordings with instruments. Using these analysis tools and categories, I investigated examples within roughly the past sixty years of pieces that use field recordings as source for instrumental music, be it for transcription, score, background, or for live interaction. The research results are detailed in four chapters, \u201cAnalysis Tools\u201d, \u201cFive Categories\u201d, and two chapters on original compositions. The concepts of place and live versus pre-recorded sound were interesting to investigate as well.<\/jats:p>\n keywords: field recording, transcription of field recordings, Site-specific;, indoor\/outdoor music<\/jats:p>","DOI":"10.22501\/koncon.124540","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:47:16Z","timestamp":1725907636000},"source":"Crossref","is-referenced-by-count":0,"title":["Catch and Release: Field Recordings as Source for Instrumental Composition"],"prefix":"10.22501","author":[{"family":"Yvonne Freckmann","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:52:46Z","timestamp":1784285566000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/124540\/124541"}},"issued":{"date-parts":[[2016,10,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.124540","published":{"date-parts":[[2016,10,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974045,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"35","license":[{"start":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T00:00:00Z","timestamp":1752537600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2025,7,15]]},"abstract":"This exhibition presents an investigation into the folk music and dance practice polska, involving a group of Swedish folk musicians and dancers. The investigation employs optical motion capture (mocap) to explore interactive music and dance performances and create innovative artistic expressions by merging traditional practices with contemporary media technology. As a musician working closely with the dancers he plays for, the author explores ways to mediate dance through the sonification and visualisation of movement data. The focus is on the fundamental connection between sound and movement in this performance practice, particularly showcased in the project's centrepiece, Dancing Dots. Documentations of this and other works included in the exhibition present live music and dance with sonic and visual displays derived from mocap data, asking how such multi-modal mediations can facilitate understanding of the interplay between movement and music and open new avenues for artistic expression in this folk music practice. The use of optical motion capture is contextualised as a means of mediating music-dance through narrow streams of movement data, and the exposition introduces a web tool for accessible sonification of folk dance. The exposition applies music and dance theoretical concepts in designing the movement mediations, examines their relevance in an artistic context, and grounds the results in a practice-based understanding of the rhythmic\/metric framework of the Swedish polska.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"download-media?work=3794668&file=3794703\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: folk music, Folk music education, folk dance, polska, mediated dancing, sonification, motion capture, spelmansmusik, traditional music, visualisation<\/jats:p>","DOI":"10.22501\/jar.2274627","type":"journal-article","created":{"date-parts":[[2025,7,15]],"date-time":"2025-07-15T11:02:37Z","timestamp":1752577357000},"source":"Crossref","is-referenced-by-count":0,"title":["Motion, Music, Mediation: Bridging Tradition and Technology in Swedish Folk Dance-Music"],"prefix":"10.22501","author":[{"family":"Olof Misgeld","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:24Z","timestamp":1784282244000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2274627\/2468058"}},"issued":{"date-parts":[[2025,7,15]]},"references-count":0,"journal-issue":{"issue":"35"},"URL":"https:\/\/doi.org\/10.22501\/jar.2274627","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2025,7,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:35Z","timestamp":1784282975912,"version":"3.55.0"},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The contribution consists of a nine-minute video Room and a text entitled \u2019What Does Silence Sound Like?\u2019 The video records changes that take place in a bedroom after the occupant\u2019s death. The text describes the making of the video soundtrack, focusing on the question of how to render auditive the silence of an emptying room. The text is mostly in the form of a dialogue, and it is based on taped conversations between Saloranta and sound designer Tatu Virtamo.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.9097","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:11Z","timestamp":1497983831000},"source":"Crossref","is-referenced-by-count":0,"title":["Milt\u00e4 hiljaisuus kuulostaa? What does silence sound like?"],"prefix":"10.22501","author":[{"family":"Elina Saloranta","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:24Z","timestamp":1784282184000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/9097\/9098"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.9097","published":{"date-parts":[[2011,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981899,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The idea of guests shaped the home, where the house became a visual object, an image, of the family. This was put to test and collapsed during the pandemic.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1282737","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T02:48:19Z","timestamp":1622688499000},"source":"Crossref","is-referenced-by-count":0,"title":["Idea of guest"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:11Z","timestamp":1784282411000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282737\/1282738"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282737","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:50Z","timestamp":1784282990307,"version":"3.55.0"},"posted":{"date-parts":[[2024,11,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,11,25]],"date-time":"2024-11-25T00:00:00Z","timestamp":1732492800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is a exposition-version of a Keynote speech, held at SIMM-posium, Copenhagen, November 2024Drawing on findings and experience from the Artistic Research project \"Echoes from the torn down fourth wall\", this keynote will explore key perspectives on building bridges between \u201cart music\u201d (whatever that means) and community singing. The research project began with an inquiry into audience participation within improvised concerts and has reinterpreted familiar Danish song material in an art music setting where the audience sings along in songs they know. Topics will include proposals for understanding the social dynamics of participation and listening through the framework of 4e cognition; in this case, thinking of listening as embodied, embedded, enacted, and extended. The role of the spectator across different performance art domains will be examined, focusing on how the project has challenged notions and ideals of the spectator\u2019s separation (or lack thereof) from the musical event.Additionally, genre theory will be employed to rethink the distinctions and overlaps between \u201ccultural\u201d and \u201cart\u201d perspectives in the interpretation of inherited musical traditions. Approaches to possible renegotiations of musical traditions \u2013 whether through confirmation or destabilization \u2013 will also be discussed, partly in the Danish context of the project, but also extended more generally beyond this specific starting point.<\/jats:p>\n keywords: f\u00e6llesskab, community, f\u00e6llessang, singing, community singing, art music, music, improvisation, outreach, genre, listening, participation, deltagelse, kunstmusik, musik, embodied cognition, kropsliggjort erkendelse, tilskuerroller, engagement, reception, Repetition and difference, destabilisation, folklore, national identity<\/jats:p>","DOI":"10.22501\/rc.3180118","type":"posted-content","created":{"date-parts":[[2024,11,25]],"date-time":"2024-11-25T15:43:06Z","timestamp":1732549386000},"source":"Crossref","is-referenced-by-count":0,"title":["KEYNOTE at SIMM-posium, November 2024, on Echoes from the torn down fourth wall"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:31Z","timestamp":1784282311000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3180118\/3180098"}},"issued":{"date-parts":[[2024,11,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3180118","published":{"date-parts":[[2024,11,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:04Z","timestamp":1784283004570,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T00:00:00Z","timestamp":1608249600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"She plays angel music (where people might die)Post-Internet Music as a comment on the absorption of knowledgeThis exposition articulates the research within the artistic work She Plays Angel Music (where people might die), a 60-minute concert-installation for 5-25 female harpists. The research was triggered by highly questionable and incomplete information on the history of harp composition found on Wikipedia. While it is generally accepted that Wikipedia is not a reliable source in academia, it still a powerful source of knowledge amongst the general public. Thus, the incomplete display on the site promotesa) the historic and continuing discrimination of women from music composition in the classical music world andb) the continuing rejection of contemporary music in favour of music by dead composers in the classical music world.This exposition takes the reader through the compositional steps that were performed in order to create a post-internet work that attempts to highlight political situations by gathering publicly available information into a controversial context.<\/jats:p>\n keywords: harp, harpists, wiki, post-internet, installation, concert, trolley, Music and performing arts 2021<\/jats:p>","DOI":"10.22501\/rc.918449","type":"posted-content","created":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T11:55:38Z","timestamp":1608292538000},"source":"Crossref","is-referenced-by-count":0,"title":["She plays angel music (where people might die)"],"prefix":"10.22501","author":[{"family":"Michael Wolters","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Paul Norman","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:24Z","timestamp":1784282424000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/918449\/1082580"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.918449","published":{"date-parts":[[2020,12,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:44Z","timestamp":1784286344472,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,6,6]],"date-time":"2024-06-06T00:00:00Z","timestamp":1717632000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,6,6]]},"abstract":"Research exposition of Sanne Bakker, as part of her master at the Royal Conservatory of the Hague.This research started with the aim of creating a better theoretical understanding and breaking down the creation process regarding the making of performances with lights. Ultimately, it became a reflection on the performative practice of a classical musician and the interdisciplinary collaboration while making an audiovisual performance. In particular, the process of the visualization of music. Through literary research into interdisciplinarity, audiovisual performances (specifically with classical music), and by doing a musical and narrative analysis through a case study of Paul Hindemith\u2019s Sonate f\u00fcr Harfe, a theoretical framework is created for collaborative preparation with a visual artist and live experimentation. This research then shows the working process and the experiments that were conducted. It concludes with a reflection on the collaboration, the final product, and how playing the harp sonata in this audiovisual setting has affected the performance of the music.<\/jats:p>\n keywords: interdisciplinarity, audiovisual performance, music visualisation<\/jats:p>","DOI":"10.22501\/koncon.2474759","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:03Z","timestamp":1725906963000},"source":"Crossref","is-referenced-by-count":0,"title":["Creating an audiovisual performance through interdisciplinary collaboration"],"prefix":"10.22501","author":[{"family":"Sanne Bakker","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:27:32Z","timestamp":1784284052000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2474759\/2579082"}},"issued":{"date-parts":[[2024,6,6]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2474759","published":{"date-parts":[[2024,6,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:52Z","timestamp":1784282932376,"version":"3.55.0"},"posted":{"date-parts":[[2025,11,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,21]],"date-time":"2025-11-21T00:00:00Z","timestamp":1763683200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Lectures, panel discussions, and conferences are formats for collective listening, but they took on conventions that make listening difficult: reading aloud complicated texts, speaking quickly in order to squeeze as much material as possible, showing slides with long texts, sitting for a long time without moving. Silence is considered awkward, so there is little time to think about what has been said.In this video paper, I dissect the decorum of oral presentation formats in academia and outline how the attention of the members of an audience diverges and converges with that of the speaker. I also share some observations about verbalizing non-verbal ideas, in particular about how a text description at the beginning of a project can tie its loose ends too tightly.At the end of my talk at the Klagenfurt conference, I handed out questionnaires, in which I asked the audience members to mark the sentences which they remembered from my talk. Then, while another presenter was speaking, I drew a graph of mind wandering of the audience members based on the questionnaires and showed it at the end of the session. In the second part of this video paper, I explain the process of evaluating the responses and present the resulting graph.<\/jats:p>\n keywords: mind wandering, attention, presentation formats, lecture, panel discussion, conference, PowerPoint<\/jats:p>","DOI":"10.22501\/rc.3847167","type":"posted-content","created":{"date-parts":[[2025,11,21]],"date-time":"2025-11-21T13:22:06Z","timestamp":1763731326000},"source":"Crossref","is-referenced-by-count":0,"title":["Mind Wandering During Lectures"],"prefix":"10.22501","author":[{"family":"Magda Stanov\u00e1","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:30Z","timestamp":1784282250000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3847167\/3847168"}},"issued":{"date-parts":[[2025,11,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3847167","published":{"date-parts":[[2025,11,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:51Z","timestamp":1784290071252,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","license":[{"start":{"date-parts":[[2014,12,2]],"date-time":"2014-12-02T00:00:00Z","timestamp":1417478400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,2]]},"abstract":"String theory posits very small \u201cstrings\u201d whose various modes of vibration produce the observed particles and forces of nature, often described through analogies with music, especially Pythagorean harmonies. We analyze the rationales and implications for enlisting this archaic lore to explain such a modern theory, especially factors connecting internal and external aspects of scientific research: the economic pressure to promote a promising but unproven theory, the quasi-religious appeal of Pythagorean teachings and their consequent aesthetics of the \u201cbeautiful theory.\u201d In contrast, sonifications of high energy physics data from the LHC seems to refer more to contemporary music than the \u201ccosmic music\u201d pioneered by Beethoven and carried forward by Stravinsky and Schoenberg.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.109371","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:06Z","timestamp":1733131626000},"source":"Crossref","is-referenced-by-count":0,"title":["Pythagorean Longings and Cosmic Symphonies: The Musical Rhetoric of String Theory and the Sonification of Particle Physics"],"prefix":"10.22501","author":[{"family":"Peter Pesic","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Axel Volmar","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:52:58Z","timestamp":1784289178000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/109371\/109372"}},"issued":{"date-parts":[[2014,12,2]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.109371","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2014,12,2]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:57Z","timestamp":1784369097128,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T00:00:00Z","timestamp":1749772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,6,13]]},"abstract":"This research investigates the visual narrative built within artworks that deal with colonial memory in Sapmi, and the heavy layers of history in the Baltics, particularly Lithuania during the Soviet era. The research question is: How can themes of Gulag, colonial history and traumatic transgenerational memory be addressed by the artists and by curators in large-scale exhibitions and art venues?The aim of this study is to examine how visual expression is aesthetically communicated by the artists, how their artworks are presented in exhibitions and media channels, and how they are received by audiences. The study examines four cases: artworks and projects by two Sami artists and two Lithuanian artists. The research is conducted as artistic research, where the author acts as the artist, curator, and spectator of the artworks being analyzed. The author has been actively involved in the creative curatorial processes, including designing the curatorial setup of the Sami artists' artworks for their audience. The comparative analysis of the visual expression is done through the reflexive tools of the author. The study's findings provide an outline of the tools that artists use within their artworks, as well as the curatorial strategies applied when presenting those artworks to audiences.<\/jats:p>\n keywords: Sami, colonialism, Gulag, artistic research<\/jats:p>","DOI":"10.22501\/hub.2356975","type":"journal-article","created":{"date-parts":[[2024,3,6]],"date-time":"2024-03-06T09:43:47Z","timestamp":1709718227000},"source":"Crossref","is-referenced-by-count":0,"title":["Contemporary artworks speak: The traumatic transgenerational memory."],"prefix":"10.22501","author":[{"family":"Marija Griniuk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:22:33Z","timestamp":1784366553000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2356975\/2356976"}},"issued":{"date-parts":[[2025,6,13]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/hub.2356975","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2025,6,13]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:42Z","timestamp":1784369022335,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2022,11,17]],"date-time":"2022-11-17T00:00:00Z","timestamp":1668643200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,11,17]]},"abstract":"This research is part of my doctoral project Archetypes of Contamination, which focuses on the relationship between symbolic images and processes of environmental transformation. This exposition, Tree of Dawn, develops by looking for the correspondence between radioactive contamination and the traditional Latvian image of the Sun-Tree as found in the Dainas, an ancient form of poetry transmitted orally through songs. My artistic process uses a re-creation and re-interpretation of ritualistic practices. With a focus on radioactive contamination, my research looks at how the experience of contaminated spaces can be read through specific myths connected to the land to interfere with the creation of personal and collective realities. The exposition moves through methods of translation as a way of reflecting on the limits of knowledge, where translation is thought of in the wider senses of transposition, deciphering, decoding, and reading through.<\/jats:p>\n keywords: Artistic process, Austras koks, Contamination, Latvju Dainas, Performance, Rituals, Translation.<\/jats:p>","DOI":"10.22501\/vis.1515878","type":"journal-article","created":{"date-parts":[[2022,11,17]],"date-time":"2022-11-17T16:51:16Z","timestamp":1668703876000},"source":"Crossref","is-referenced-by-count":0,"title":["Tree of Dawn: Translation as a Method"],"prefix":"10.22501","author":[{"family":"Aurora Del Rio","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:28Z","timestamp":1784365888000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1515878\/1715473"}},"issued":{"date-parts":[[2022,11,17]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/vis.1515878","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2022,11,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:02Z","timestamp":1784289902307,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"The article introduces the concept of \u201cfragile listening\u201d as a framework for describing ambient listening, understood as sensitive, easily disrupted, yet responsive to subtle changes in the sonic environment. Against the backdrop of the genealogy of background music, I propose a metatheoretical \u201cepistemic game\u201d that brings together psychoacoustics, acoustic ecology, and musicology. I argue that these fields do not fully account for threshold-based and diffuse listening practices. Drawing on the work LaBelle, Cobussen, and Hui, I conceptualize fragility as an epistemic virtue. An analysis of platforms and headphone technologies highlights the ethical stakes of cultivating a \u201cvulnerable ear\u201d in the face of algorithmic management of mood and attention.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4300077","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:28:40Z","timestamp":1777987720000},"source":"Crossref","is-referenced-by-count":0,"title":["Something Fragile: Ambient Listening Between Sonic Epistemologies"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-7295-6632","authenticated-orcid":false,"family":"Piotr K\u0119dziora","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:27:39Z","timestamp":1784287659000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4300077\/4300078"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4300077","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:44Z","timestamp":1784290124630,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","license":[{"start":{"date-parts":[[2014,12,1]],"date-time":"2014-12-01T00:00:00Z","timestamp":1417392000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,1]]},"abstract":"In this paper I examine the new sorts of tonalities produced by electronic music and how they became associated with the theme of space. Sound was an important topic in early science fiction writing. Furthermore, 1950s-era science fiction movies used electronic tones to capture the vastness of space and the other-worldliness of aliens. Electronic tones, such as produced by the Theremin, were also used in movies of this period to accompany moments of mental instability. Sound itself, and weird sounds in particular, were used to portray unusual and strange mental powers. These associations took on new valences as the space age unfolded, in the years following the launch of the first satellite, Sputnik, in 1957. Domestic space in US households became an important site for the consumption of sound with the new burgeoning High Fidelity (Hi-Fi) craze. Special genres of music for hi-fi, such as exotica and space age pop, reinforced the notion of space as gendered \u201cother\u201d and largely feminine. The domestic space of musical consumption changed with communal living and the emergence of the counter culture in the 1960s and the new possibilities of electronic tonalities provided by the first commercial electronic music synthesizers. Outer space exploration and the search for inner space were combined into new forms of spacey music, which were often consumed in collective spaces such as \u201cgatherings of the tribes\u201d, festivals, \u201cbe ins\u201d and communal \u201chappenings\u201d. Whether it be Jefferson Starship\u2019s attempt to \u201chighjack the starship\u201d, British band Hawkwind\u2019s use of the sound of synthesizers \u201cin search of space\u201d, or Sun Ra\u2019s early use of the Moog synthesizer with his Solar Arkestra to declare \u201cspace is the place\u201d \u2013 electronic sounds and their association with space had become part of a dystopian critique of Planet Earth.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.108499","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:25Z","timestamp":1733131645000},"source":"Crossref","is-referenced-by-count":0,"title":["Space is the Place: The Electronic Sounds of Inner and Outer Space"],"prefix":"10.22501","author":[{"family":"Trevor Pinch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:53:13Z","timestamp":1784289193000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/108499\/108500"}},"issued":{"date-parts":[[2014,12,1]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.108499","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2014,12,1]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:43Z","timestamp":1784289883362,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T00:00:00Z","timestamp":1715558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: Voice-Shifting as a Method: Eco-Gods in Future Orthodox Chants, Supervisor: Gerhild SteinbuchEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2737950","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:25:19Z","timestamp":1715585119000},"source":"Crossref","is-referenced-by-count":0,"title":["Question I: Choirs and their democracy: Open letter to the International Professional Animal Communicators Association Group (excerpt)"],"prefix":"10.22501","author":[{"family":"Sanja Andjelkovi\u0107","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:24:48Z","timestamp":1784287488000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2737950\/2737951"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2737950","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:13Z","timestamp":1784289913236,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2023,3,6]],"date-time":"2023-03-06T00:00:00Z","timestamp":1678060800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2023,3,6]]},"abstract":"Rajni Shah is a performance maker, writer, and producer. Their practice-based doctoral research \u2013 Experiments in Listening \u2013 was published in the Performance Philosophy book series in 2021. It effects a shift that provides a key thematic thread of this special issue of the Journal of Sonic Studies, one that interweaves all the contributions in different ways but is rarely stated explicitly: listening-based practices dissolve ossified lines separating \u201cart\u201d from \u201clife,\u201d aesthetic practices from the political. Shah\u2019s reflections are presented as this red thread, a collection of vignettes that can be followed as one line or taken as an invitation to pause between each article, resonating in that liminal and medial space. It is fitting, then, that we round off the issue with a review of Shah\u2019s book, not in the mode of judgement \u2013 a critic\u2019s 1- to 5-star rating \u2013 but in the spirit of our thematic of voice and listening, as a dialogue. Co-guest editor Ed McKeon, whose own jointly-authored contribution to this issue uses dialogue as a method, posed the questions.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.1912494","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:28Z","timestamp":1733131528000},"source":"Crossref","is-referenced-by-count":0,"title":["Dialogue on Experiments in Listening"],"prefix":"10.22501","author":[{"family":"Ed McKeon and Rajni Shah","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:33:15Z","timestamp":1784287995000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1912494\/1912493"}},"issued":{"date-parts":[[2023,3,6]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jss.1912494","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2023,3,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977745,"version":"3.55.0"},"posted":{"date-parts":[[2024,10,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,10,2]],"date-time":"2024-10-02T00:00:00Z","timestamp":1727827200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"El d\u00eda 16 de Marzo de 2024, 20 personas se reunieron a contar los narcisos vivos y muertos que hay en el prado de narcisos de Santa Maria de la Alameda. Contaron 28208 narcisos. 20793 vivos y 7415 muertos.<\/jats:p>\n keywords: Narciso, Muxu, Afectos, Pr\u00e1cticas relacionales, Escritura, Proceso creativo.<\/jats:p>","DOI":"10.22501\/rc.2575953","type":"posted-content","created":{"date-parts":[[2024,10,8]],"date-time":"2024-10-08T06:26:34Z","timestamp":1728368794000},"source":"Crossref","is-referenced-by-count":0,"title":["28208"],"prefix":"10.22501","author":[{"family":"Nuria D\u00edaz-Tejeiro","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:37Z","timestamp":1784282317000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2575953\/2733590"}},"issued":{"date-parts":[[2024,10,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2575953","published":{"date-parts":[[2024,10,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:57Z","timestamp":1784282997883,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,12]],"date-time":"2026-03-12T00:00:00Z","timestamp":1773273600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This presentation explores transmedial composition in kinetic performance as a practice foregrounding embodied, kinaesthetic knowledge; understanding that precedes language and whose centrality in aesthetic experience and is marginalized by the computational standardization of aesthetic experience. Drawing on Movement, Mimesis, and Mimicry (Uniarts Helsinki) and previous research, I use the performance Inscription as case study. Performer Alwynne Pritchard shares the stage with non-representational kinetic sculptures \"disembodied prosthetics\" that bear no resemblance to a human body whose movements derive from her motion-captured data. The mediation here, the motion capture, robotics and software translate one performer's movement into mechanical forms that necessarily transform it, producing difference, not replication. The presentation traces three ontological thresholds. Intent to inscription: human movement inscribed into mechanical forms, understood through Derrida's trace and Malafouris' material engagement theory as transformation, not degradation. Mechanism to agency: non-representational forms enlisting kinaesthetic knowledge through enactive perception (No\u00eb, Sheets-Johnstone), creating an \"intentionality vacuum\" compelling embodied meaning-making. Sensation to kinship: pre-reflective bodily resonance (Gallese) fostering felt relation with non-human performers grounded in kinaesthetic recognition rather than visual resemblance. I argue that transmedial composition here is not the organisation of parallel media, but the design of conditions for co-emergent meaning, irreducibly embodied, plural, and private. The practice orients toward a horizon - felt kinship - that can only exist in the interior of each encountering body. This is intended as a subversive compositional stance: work whose essential content is constitutively inaccessible to standardising forces, belonging to knowledge that cannot be extracted or algorithmically reproduced.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4276861","type":"posted-content","created":{"date-parts":[[2026,3,12]],"date-time":"2026-03-12T19:15:54Z","timestamp":1773342954000},"source":"Crossref","is-referenced-by-count":0,"title":["Transmedial composition in kinetic performance: Mimesis without resemblance, ambiguity, and the enactive mind [For Hugarflug - 2026-03-12 19:38]"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0004-1135-539X","authenticated-orcid":false,"family":"Thorolf Thuestad","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:00Z","timestamp":1784282220000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4276861\/4276830\/100\/0"}},"issued":{"date-parts":[[2026,3,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4276861","published":{"date-parts":[[2026,3,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:11Z","timestamp":1784289851372,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2015,4,1]],"date-time":"2015-04-01T00:00:00Z","timestamp":1427846400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2015,4,1]]},"abstract":"The working title of my doctoral research is Relation Between Idea, Means and End in Three-dimensional Art Making. By making art, I study how a three-dimensional artwork evolves. I employ a phenomenological research approach in my practice-led, artistic research. In this exposition, I present one of the case studies of my dissertation, a sculpture called From A Container to A Room for A Female Elk (2011, porcelain, glazed stoneware, rutile and Ikea table, 70 x 50 x 50 cm). I describe in detail the process of creating this artwork, for it discloses the potential of materiality and spatiality in artistic research: the experience of resistance (Biesta 2012). This phenomenon occurs in my art practice, and I study it from within the same activity. While pursuing three-dimensional artworks, I move both the materials and my own body. In my research, I analyze this aspect of three-dimensional art practice through the phenomenological theory of embodiment. In order to stay close to the experiential, I integrate academic research with the art practice. Only the confrontation with the evolving artwork may reveal the material resistance in this art practice.<\/jats:p>\n keywords: Taiteellinen tutkimus, kokemus, kokemuksen vastus, kolmiulotteinen kuvataiteellinen ty\u00f6skentely<\/jats:p>","DOI":"10.22501\/ruu.61432","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:28Z","timestamp":1503635068000},"source":"Crossref","is-referenced-by-count":0,"title":["Experience of Resistance -The Potential of Materiality and Spatiality in Artistic Research"],"prefix":"10.22501","author":[{"family":"Riikka Makikoskela","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:20:22Z","timestamp":1784287222000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/61432\/61433"}},"issued":{"date-parts":[[2015,4,1]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/ruu.61432","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2015,4,1]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981920,"version":"3.55.0"},"posted":{"date-parts":[[2021,9,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,9,14]],"date-time":"2021-09-14T00:00:00Z","timestamp":1631577600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The research on the project<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1328939","type":"posted-content","created":{"date-parts":[[2021,9,28]],"date-time":"2021-09-28T21:06:46Z","timestamp":1632863206000},"source":"Crossref","is-referenced-by-count":0,"title":["Gut Feeling"],"prefix":"10.22501","author":[{"family":"Robertas Narkus","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:01Z","timestamp":1784282401000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1328939\/1328940"}},"issued":{"date-parts":[[2021,9,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1328939","published":{"date-parts":[[2021,9,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993248,"version":"3.55.0"},"posted":{"date-parts":[[2014,8,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2014,8,25]],"date-time":"2014-08-25T00:00:00Z","timestamp":1408924800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A short essay outlining the founding principle of modern art as a search for an inherent way of sensing that once allowed us to look at objects and events without learned understanding.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.67209","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:54:43Z","timestamp":1498053283000},"source":"Crossref","is-referenced-by-count":0,"title":["Two Ways of Seeing: Looking to Recognise or Looking to Unkowing"],"prefix":"10.22501","author":[{"family":"Christopher Hollins","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:04Z","timestamp":1784282464000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/67209\/67210"}},"issued":{"date-parts":[[2014,8,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.67209","published":{"date-parts":[[2014,8,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:42Z","timestamp":1784283042740,"version":"3.55.0"},"posted":{"date-parts":[[2020,10,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,10,12]],"date-time":"2020-10-12T00:00:00Z","timestamp":1602460800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Aqui voy a poner mis notas y trabajos de la clase de lenguajes multimodales, es mi primera vez haciendo algo de este tipo asi que solo espero que salga bien y se vea bastante lindo y ordenado, o no lo podre entender.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1005099","type":"posted-content","created":{"date-parts":[[2020,10,12]],"date-time":"2020-10-12T00:21:33Z","timestamp":1602462093000},"source":"Crossref","is-referenced-by-count":0,"title":["lenguajes multimodales :D"],"prefix":"10.22501","author":[{"family":"juls","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:30Z","timestamp":1784282430000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1005099\/1005100"}},"issued":{"date-parts":[[2020,10,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1005099","published":{"date-parts":[[2020,10,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025373,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"32","license":[{"start":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T00:00:00Z","timestamp":1721001600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,7,15]]},"abstract":"Scrape Elegy is a participatory multimedia art installation designed as a critical exploration of our presence on and engagement with social media. The work uses sound, a physical installation in the form of a pink public toilet, and participatory practice through visitors\u2019 Instagram accounts. It joins the postmodern art procession of toilet-based installations and plays on the aesthetics of the banal (Maffesoli 1999) as a critique of society, much like such works as Maurizio Cattelan\u2019s America (2016) and Gelitin\u2019s Locus Focus (2004). It calls attention to the ethical issues surrounding data scraping technology by using the very same technology to read visitors\u2019 Instagram captions from their accounts back to themselves. Sound becomes the medium for self-representation, subverting the text- and photo-based platform of Instagram. The work is personal and user-specific, using parasitic platform practices to create a critique of modern internet capitalism and tech oligarchies (S\u00e6tra et al. 2021). Scrape Elegy is a comedic mourning poem, a monologue, and a private show for the individual in a commercialized, globalized, corporate, pink Instagram world.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&file=2936355\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: digital ethics, social media, artistic research, participtory installation, post-internet, scraping<\/jats:p>","DOI":"10.22501\/jar.1742136","type":"journal-article","created":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T06:20:55Z","timestamp":1721024455000},"source":"Crossref","is-referenced-by-count":0,"title":["Your Digital Graveyard: Sound, Toilets and Participatory Post-Internet Practice in Scrape Elegy"],"prefix":"10.22501","author":[{"family":"Monica Lim","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Gabby Bush","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:27Z","timestamp":1784282367000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1742136\/2819444"}},"issued":{"date-parts":[[2024,7,15]]},"references-count":0,"journal-issue":{"issue":"32"},"URL":"https:\/\/doi.org\/10.22501\/jar.1742136","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2024,7,15]]}},{"indexed":{"date-parts":[[2024,12,13]],"date-time":"2024-12-13T05:21:42Z","timestamp":1734067302371,"version":"3.30.2"},"posted":{"date-parts":[[2024,12,12]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Om v\u00e4drets f\u00f6rdelar och nackdelar.<\/jats:p>","DOI":"10.22501\/rc.2568836","type":"posted-content","created":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T09:41:56Z","timestamp":1733996516000},"source":"Crossref","is-referenced-by-count":0,"title":["V\u00c4DER"],"prefix":"10.22501","author":[{"family":"Cecilia Wiklander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T09:41:56Z","timestamp":1733996516000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2568836\/2568837"}},"issued":{"date-parts":[[2024,12,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2568836","published":{"date-parts":[[2024,12,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:37Z","timestamp":1784368957251,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2019,11,6]],"date-time":"2019-11-06T00:00:00Z","timestamp":1572998400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,6]]},"abstract":"Unfolding processes of timbre and memory in improvisational piano performanceThis exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer\u2019s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer\u2019s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer:-experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships;- Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space.Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.686088","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T07:59:05Z","timestamp":1618300745000},"source":"Crossref","is-referenced-by-count":0,"title":["Creating with timbre"],"prefix":"10.22501","author":[{"family":"Magda Mayas","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:04:19Z","timestamp":1784365459000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/686088\/686089"}},"issued":{"date-parts":[[2019,11,6]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.686088","published":{"date-parts":[[2019,11,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:03Z","timestamp":1784283003620,"version":"3.55.0"},"posted":{"date-parts":[[2018,11,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2018,11,16]],"date-time":"2018-11-16T00:00:00Z","timestamp":1542326400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A theoretical linking of my \"Raw Women\", female figures from the series \"Raw Meat\" which feature a skinned, cut-up, recomposed body, with the \"living dead\" figure portrayed in the anatomical charts of the Fifteenth and Sixteenth centuries. I examine how our two images seek the representation of \"truths\" concerning the human body and its functionning as well as a common truth about the fate of the human flesh, and that of our human condition.<\/jats:p>\n keywords: art &amp; clinique, raw meat, ecorch\u00e9, art, collage, salamandra<\/jats:p>","DOI":"10.22501\/rc.523965","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:14:09Z","timestamp":1684746849000},"source":"Crossref","is-referenced-by-count":0,"title":["Ecorch\u00e9es"],"prefix":"10.22501","author":[{"family":"Lisa Salamandra","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:49Z","timestamp":1784282449000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/523965\/523966"}},"issued":{"date-parts":[[2018,11,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.523965","published":{"date-parts":[[2018,11,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:30Z","timestamp":1784282970530,"version":"3.55.0"},"posted":{"date-parts":[[2026,4,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,7]],"date-time":"2026-04-07T00:00:00Z","timestamp":1775520000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"AbstractDiese Arbeit untersucht elektromagnetische Felder als r\u00e4umlich wirksames und performatives Medium im Kontext von Klangkunst und Computermusik. Ziel ist, die Klangqualit\u00e4t von elektromagnetischen Emissionen aus der Verborgenheit herauszunehmen, ihre kompositorischen M\u00f6glichkeiten aufzuzeigen und ihre k\u00fcnstlerische Nutzung zu f\u00f6rdern.Dazu wurde das Instrument B\/Field mit zwei Prototypen entwickelt. B\/Field \u00fcbersetzt Audiosignale in magnetische Felder und transformiert sie mithilfe elektromagnetischer Mikrofone wieder in Klang. In kompositorischen Studien und einer Live-Anwendung wird untersucht, wie aus dem Zusammenspiel von k\u00f6rperlicher Geste im elektromagnetischen Raum, Feld\u00fcberlagerungen und Mapping eine eigenst\u00e4ndige Spielpraxis entsteht.Basis f\u00fcr die Entwicklung von B\/Field bildet die physikalische Untersuchung von elektromagnetischen Feldern im Nahfeld und die Analyse von bekannten musikalischen Anwendungsbereichen: elektromagnetische Felder als Klangquelle, als \u00dcbertragungsmedium, als Sensor sowie als Treiber zur Anregung akustischer Saiteninstrumente. Anhand ausgew\u00e4hlter k\u00fcnstlerischer Arbeiten werden diese Ans\u00e4tze vergleichend entlang einer performativen, r\u00e4umlichen und klanglichen Ebene analysiert.Die Ergebnisse zeigen, dass elektromagnetische Felder nicht nur Tr\u00e4ger von Klang sind: ihr unsichtbarer, jedoch physisch realer Interaktionsraum kann durch k\u00f6rperliche Ann\u00e4herung und Bewegung musikalisch genutzt und erfahrbar werden, wodurch die Felder selbst zum Interface werden.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4096147","type":"posted-content","created":{"date-parts":[[2026,4,7]],"date-time":"2026-04-07T16:17:39Z","timestamp":1775578659000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring the performative space of electromagnetic fields"],"prefix":"10.22501","author":[{"family":"janis labhart","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:50Z","timestamp":1784282210000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4096147\/4208771"}},"issued":{"date-parts":[[2026,4,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4096147","published":{"date-parts":[[2026,4,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936961,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Canon of Witnesses: Teresa Margolles & The Ethics of ResidueBy Dorian ValeIn this foundational essay, Dorian Vale situates Teresa Margolles within the Canon of Witnesses, a post-interpretive framework that honors artists whose works resist explanation and demand moral proximity. Focusing on Margolles\u2019s use of bodily residue\u2014blood, water from morgues, traces of violence\u2014Vale examines how her practice subverts spectacle and refuses the comfort of metaphor. Rather than aestheticizing death, Margolles preserves its aftermath. Her works do not speak for the dead\u2014they let the materials of death remain unaltered, undecorated, and unresolvable. Through her installations, Vale argues, Margolles becomes a custodian of consequence: holding space for what cannot be revived, only witnessed. Written through the lens of Post-Interpretive Criticism, this essay proposes that Margolles offers one of the most ethically alert practices in contemporary art. Her work is not political commentary\u2014it is aftermath. And in that aftermath, she teaches the critic not to interpret, but to stand still. Vale, Dorian. Canon of Witnesses: Teresa Margolles & The Ethics of Residue. Museum of One, 2025. DOI: 10.5281\/zenodo.17070909 Teresa Margolles, Dorian Vale, Post-Interpretive Criticism, Canon of Witnesses, contemporary Mexican artists, art and death, ethical art criticism, trauma in contemporary art, bodily residue in art, morgue water installations, art of aftermath, art and violence, mourning in installation art, witnessing through material, Teresa Margolles analysis, non-interpretive art writing, residue as aesthetic, ethics of witnessing, post-interpretive canon, slow art, sacred presence in contemporary artThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Erasure as ethics, Interpretive silence, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Art Theory, Aesthetics, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Founder of Post-Interpretive Criticism, Dorian Vale, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Teresa Margolles, Interpretation vs. Witnessing, Language as Custody, Museum of One Manifesto, Erasure as Afterlife, Post-Interpretive Lexicon, Alternative art criticism, Ethical art theory, New art criticism movement, Criticism beyond interpretation, Interpretive Restraint, Witness over interpretation, Radical art restraint, Quiet philosophy of art, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/orcid.org\/0009-0004-7737-5094<\/jats:p>","DOI":"10.22501\/rc.3921667","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:48:43Z","timestamp":1759938523000},"source":"Crossref","is-referenced-by-count":0,"title":["Canon of Witnesses: Teresa Margolles &amp; The Ethics of Residue"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:44Z","timestamp":1784282264000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921667\/3921666"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921667","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:56Z","timestamp":1784286296719,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2013,6,18]],"date-time":"2013-06-18T00:00:00Z","timestamp":1371513600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2013,6,18]]},"abstract":"This exploratory text communicates the relation between my figurative sculpture and abstract drawings in an attempt to find the deeper grounds in my artistic work. During this project writing has become a connecting element, both as a description of my artistic process and as an integrated part of my work. In this writing I have tried to be open to underlying motives and early in this project it became clear that memories of psychotic episodes that I experienced in my twenties would start to play a crucial part in the description of my process. The psychoses had a prodigious impact on the formation of the person I have become and still play an important role as an undercurrent of emotional energy in my daily life and in my art. However, since I don\u2019t want my art to be perceived through the point of view that I was once a psychiatric patient, I hardly ever talk about it. In this exposition I explore how, if I want to explore deeper layers in my work, I can no longer avoid this part of my past.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.25145","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T05:25:56Z","timestamp":1492406756000},"source":"Crossref","is-referenced-by-count":0,"title":["Rationality, Intuition and Emotion - Exploring an Artistic Process"],"prefix":"10.22501","author":[{"family":"Gert Germeraad","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:17:24Z","timestamp":1784283444000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/25145\/25146"}},"issued":{"date-parts":[[2013,6,18]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/jar.25145","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2013,6,18]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:09Z","timestamp":1784286249549,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T00:00:00Z","timestamp":1512864000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,12,10]]},"abstract":"My interdisciplinary, practice-led research involves a diverse methodological approach, including experimental film production, continental philosophy, psychoanalysis, and neuroscience. In this exposition, I review the role of intuition in creative practice, and the influential factors when the work of art \u2018happens\u2019.The short, experimental film Unhomely Street represents the experience of post-concussive syndrome through a surrealist narrative with historical accounts of atrocity and anti-capitalist polemics. Having employed a new approach to filmmaking \u2014 a spontaneous method in which artistic decisions are informed by emotional tone rather than narrative concerns \u2014 I reflect upon this creative play. I draw on the work of neuroscientist Antonio Damasio, specifically his view that emotion underpins consciousness, Freud\u2019s theory of the unconscious, and Irving Massey\u2019s understanding of metaphor as the original, pre-linguistic language of thought.<\/jats:p>\n keywords: experimental, subjective, neuroaesthetics, research, Damasio, Freud, Film-making, art practice<\/jats:p>","DOI":"10.22501\/jar.285865","type":"journal-article","created":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T17:27:08Z","timestamp":1512926828000},"source":"Crossref","is-referenced-by-count":0,"title":["Exorcising Unhomely Street: Filmic Intuition and the Representation of Post-concussive Syndrome"],"prefix":"10.22501","author":[{"family":"Susannah Gent","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:16Z","timestamp":1784283076000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/285865\/285866"}},"issued":{"date-parts":[[2017,12,10]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jar.285865","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2017,12,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:48Z","timestamp":1784286348980,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,6,1]],"date-time":"2023-06-01T00:00:00Z","timestamp":1685577600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,6,1]]},"abstract":"When I played a Schumann piece, Genoveva Overture, for the first time, I was wondering, because there were Ventilhorn and Waldhorn parts. I could not imagine what his idea was when he wrote for four horns, but still used two different kinds of the same instrument. Did he want to express something with this set-up? Beside this, I did not understand why he, and other romantic composers, use so much transposition when they had already a completely chromatic instrument. As I started to get to know and play the natural horn, it was getting clearer what his intention could have been. Why he used an \u2018ancient\u2019 instrument, though he could compose for four chromatic horns. This made me even more interested, and I also got more questions and hypotheses about the topic, for what I wanted to find an answer.In my research, I tried to get to know the use of the horn in the middle of the 19th century. I wanted to get familiar with the contemporaries\u2019 imagination about the old and new instrument, and with the way how they used them. Then, with this knowledge, I analysed Schumann\u2019s orchestral works, especially the horn parts, and tried to find out if the results are matching with the background research. My aim was too, show the horn players, that the romantic horn playing is not only about the \u2018holy\u2019 valve horn, but something more complex and colourful.<\/jats:p>\n keywords: Schumann, Horn, natural horn, valve horn, romanticism, historically informed performance, Historically informed performing, Lewy<\/jats:p>","DOI":"10.22501\/koncon.1949215","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:03Z","timestamp":1725907023000},"source":"Crossref","is-referenced-by-count":0,"title":["The use of the horn in the late orchestral works by Robert Schumann"],"prefix":"10.22501","author":[{"family":"M\u00e1rton K\u00f3r\u00f3di","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:31:15Z","timestamp":1784284275000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1949215\/1949216"}},"issued":{"date-parts":[[2023,6,1]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1949215","published":{"date-parts":[[2023,6,1]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:45Z","timestamp":1784286465453,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,5,11]],"date-time":"2022-05-11T00:00:00Z","timestamp":1652227200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,11]]},"abstract":"Flamenco is still a mystery and although there is a growing body of academic literature seeking to understand it, there is still a long way to go. In addition, flamenco is opening up to such variety and innovation that various instruments have been included in the traditional ensemble of guitar, caj\u00f3n, clapping, cantaor\/a and dancer. For these reasons, this research aims to bring cante por soleares closer to anyone interested in the world of flamenco, although perhaps with special attention to string musicians, and cellists in particular. This work, together with my analysis of the rhythm, melody, harmony and structure of the soleares, seeks to offer reflections, tools and conclusions for those looking to imitate soleares singers on the cello. This work is carried out through the transcription and analysis of six soleares, carefully selected for the purpose of being played on the cello [having done so much work with flamenco experts, it is a pity not to mention this as one of your key methods]. With these insights, I seek to better understand the characteristics of cante por soleares, to propose different forms of imitating it on the cello, and to offer options more suitable to the instrument when close imitation is not possible.<\/jats:p>\n keywords: Flamenco, soleares, cante, flamenco, transcription, Violoncello, Aesthetics & Cultural Discourse<\/jats:p>","DOI":"10.22501\/koncon.1401613","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:39:00Z","timestamp":1725907140000},"source":"Crossref","is-referenced-by-count":0,"title":["Cello Meets Soleares"],"prefix":"10.22501","author":[{"family":"Candela Mier-Ter\u00e1n","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:36:24Z","timestamp":1784284584000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1401613\/1401614"}},"issued":{"date-parts":[[2022,5,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1401613","published":{"date-parts":[[2022,5,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:45Z","timestamp":1784282985688,"version":"3.55.0"},"posted":{"date-parts":[[2023,9,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,9,1]],"date-time":"2023-09-01T00:00:00Z","timestamp":1693526400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cWhat may have happened\u2026\" is a research driven by the desire to augment the sense of sharing in a decentralized improvisation-a creative musical situation in which the participants are in different locations. It focusses on extending the amount of communication channels in a decentralized improvisation setting\u2014beyond the audible and visible. The aim will be not just adding extra layers of data exchange, but introducing various modes of interaction. This will be realized through the use of software and mobile devices.<\/jats:p>\n keywords: improvisation, software, mobile devices, remote, online engagement., Online, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/rc.995063","type":"posted-content","created":{"date-parts":[[2023,9,1]],"date-time":"2023-09-01T06:49:42Z","timestamp":1693550982000},"source":"Crossref","is-referenced-by-count":0,"title":["'What may have happened\u2026'"],"prefix":"10.22501","author":[{"family":"Johan van Kreij","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:17Z","timestamp":1784282357000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/995063\/1127855"}},"issued":{"date-parts":[[2023,9,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.995063","published":{"date-parts":[[2023,9,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:21Z","timestamp":1784283021419,"version":"3.55.0"},"posted":{"date-parts":[[2025,4,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,25]],"date-time":"2025-04-25T00:00:00Z","timestamp":1745539200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This thesis explores the link between colonialism, diaspora and displacement, analysing how these themes are addressed in contemporary art through the works of artists such as Belkis Ay\u00f3n, Tania Bruguera, Coco Fusco, Binta Diaw and Dominique White. My research is developed around the concept of non-place (Marc Aug\u00e9) and the space in-between (Homi Bhabha), understood as fluid territories in which identity is broken down and recomposed, suspended between memory and oblivion, between roots and transit. The analysis examines artistic practices that reinterpret the collective memory of diasporic communities, with a focus on processes of cultural and identity re-appropriation. Belkis Ay\u00f3n's work reinterprets the Afro-Cuban mythology of the Abaku\u00e1 as a metaphor for diaspora and marginality, while Tania Bruguera and Coco Fusco deconstruct the colonial gaze through performance and denunciation of power. Binta Diaw and Dominique White use the body, the sea and shipwreck as symbols of identity fragmentation and the construction of new spaces of belonging. The thesis integrates references to Paul Gilroy, An\u00edbal Quijano, Frantz Fanon and Enrique Dussel, highlighting how art can function as an archive of memories and an instrument of political resistance. Parallel to the theoretical research, my artistic project proposes a series of installations that evoke the non-place of dislocation, a space of transition and rewriting, where matter - sound, sculpture, performance - become bearers of forgotten histories and new possibilities of belonging.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3507774","type":"posted-content","created":{"date-parts":[[2025,4,25]],"date-time":"2025-04-25T08:57:00Z","timestamp":1745571420000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond the Border Colonialism, Diaspora and Displacement: Artistic Narratives between Memory and Identity"],"prefix":"10.22501","author":[{"family":"Gabriela Alessandra Queija Du Bois","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:10Z","timestamp":1784282290000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3507774\/3507775"}},"issued":{"date-parts":[[2025,4,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3507774","published":{"date-parts":[[2025,4,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:02Z","timestamp":1784368982764,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2025,10,21]],"date-time":"2025-10-21T00:00:00Z","timestamp":1761004800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,21]]},"abstract":"This exposition explores the paradox of rendering visible a research that seeks to remain unseen. It examines concealment, obfuscation, and selective disclosure as strategies of resistance and protection, questioning the ethics and politics of visibility in academic and artistic inquiry. Absence, silence, and ambiguity are explored as ways of invoking presence, challenging dominant paradigms of transparency and access, and proposing alternative modes of engaging with hidden or fugitive research. Central to this inquiry is the operatic prompter, an unseen presence that feeds lines to the performer, ensuring continuity while remaining hidden. The prompter\u2019s role complicates the link between knowledge and articulation, shaping the performance without claiming authorship. Like other fugitive voices in history, the prompter embodies a marginal agency, whispering from the wings.<\/jats:p>\n keywords: transgender studies, voice, theatre, opera, object, embodiment, listening, performativity, experimentation, prompting, Language, poetics<\/jats:p>","DOI":"10.22501\/vis.3241639","type":"journal-article","created":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:02:20Z","timestamp":1760997740000},"source":"Crossref","is-referenced-by-count":0,"title":["I Love Listening to Music and Imagining Things Happening"],"prefix":"10.22501","author":[{"family":"Richie Lux Kram\u00e1r","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:07:02Z","timestamp":1784365622000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3241639\/3241640"}},"issued":{"date-parts":[[2025,10,21]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/vis.3241639","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,10,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:35Z","timestamp":1784283095589,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","license":[{"start":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T00:00:00Z","timestamp":1672272000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,12,29]]},"abstract":"This text is a reflection on Caj\u00f3n desastre, an exhibition that collected around fifty drawings made between 2011 and 2020. This text, together with the exhibition, assembles an artistic research unfolded in time and developed in three layers: the making of the drawings and conceptual openings; 2) the gathering and conceptualization of the drawings under the exhibition project; 3) the text development and consequent assembly of this artistic research. In this research I intend to question the linearity associated with a positivist way of understanding the idea of project and artistic research, and I aimed to make visible subjectivities, knowledge and artistic products in process that are affected by the flexible and discontinuous work of the third spirit of capitalism. To this end, I embody a methodological positioning crossed by the post-qualitative perspective of artistic research, through which to activate, qualify and dignify artistic research \u201cin transition\u201d. In this way, in this text I inquire into the functionality of disorder in investigations that, like Caj\u00f3n desastre, happens in an interrupted and evolving way. By doing so, I reterritorialize paradigmatic structures about art, research and its processes, approaching the idea of fragmentation as a basis on which to articulate, defend and legitimize other ways of researching and learning from art. Influenced by the thought of Deleuze and Guattari, this text is organized in a series of notes in the middle of a selection of the images that made up the exhibition Caj\u00f3n desastre. The text is not about the images themselves, but about how they were produced and from what notions of artistic research. Text and images work as an assemblage in process composed of open approaches and multiple outputs, through which I also intend to give value to the knowledge that is generated in movement and when you get lost. In this text, I make room for reflections that were absent in the exhibition experience and add new knowledge two years after the closing of the exhibition.<\/jats:p>\n keywords: artistic research, post-qualitative inquiry, rhizome, learning in becoming, artistic process, art and post-Fordism, researcher in transition, assemblage<\/jats:p>","DOI":"10.22501\/jar.1505384","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T06:30:53Z","timestamp":1672295453000},"source":"Crossref","is-referenced-by-count":0,"title":["Caj\u00f3n desastre: notas sobre una investigaci\u00f3n art\u00edstica desordenada"],"prefix":"10.22501","author":[{"family":"Paola Villanueva","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:02:20Z","timestamp":1784282540000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1505384\/1775798"}},"issued":{"date-parts":[[2022,12,29]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jar.1505384","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2022,12,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:10Z","timestamp":1784286490846,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,12,16]],"date-time":"2020-12-16T00:00:00Z","timestamp":1608076800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,12,16]]},"abstract":"This research explores the creation and application of mindfulness and goal setting exercises and tests its relationship with the construct of self-efficacy for music learning and practicing. Three separate questionnaires and pre- and post-intervention interviews were applied to a sample of 11 conservatory students. All participants but one rated higher scores of self-efficacy for music learning and practicing in one of the questionnaires. The additional questionnaires, interviews and formats that were analyzed give this study a broader scope for identifying distinct factors that may have a relation with the exercises applied and higher self-ratings of self-efficacy.The content of this research provides an analysis of mindfulness practices and goal-setting strategies and their application to the instrumental practice of music conservatory students. The material envisioned for this study is both original and retrieved from external sources. Some of the material is taken from author Vanessa Cornett and her book \u201cThe Mindful Musician\u201d (Cornett, 2019), as well as from Sarah Samuel\u2019s book \u201cMindful Crafting\u201d (2018) and Bernadette Dijkhuizen-Keogh\u2019s work (2019).This research wishes to provide tools not only for students who want to improve their sense of self-efficacy regarding their instrumental practice but also for teachers, who want to explore the material developed in this study with their students.<\/jats:p>\n keywords: mindfulness, practice, self-efficacy<\/jats:p>","DOI":"10.22501\/koncon.918458","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:38Z","timestamp":1725907238000},"source":"Crossref","is-referenced-by-count":0,"title":["Mindful practicing - Mindfulness and goal setting exercises for fostering self-efficacy"],"prefix":"10.22501","author":[{"family":"Magdalena Morales Hidalgo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:40:43Z","timestamp":1784284843000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/918458\/918459"}},"issued":{"date-parts":[[2020,12,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.918458","published":{"date-parts":[[2020,12,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:02:57Z","timestamp":1784286177682,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T00:00:00Z","timestamp":1666915200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,10,28]]},"abstract":"Katharine Normans\u2019 work Making Place for instrument\/s with live electronics (2013\/16) combines recorded sounds, images, text, live interactive processing and instrumental music performance to create a unique experience of place. As the performer, I can choose a location, collect photographic images and recorded sounds, and interpret and re-create the score. The score is semi-improvisatory, consisting of many composed and freely pitched musical gestures which trigger text, visual animations and sound processing. This exposition traces the re-conceptualization, adaptation and performance of Making Place for alto flute. A multi-layered experimental methodology evolved that encompassed practice, discussion, description and reflection, with the performance itself forming the pivotal event, the epoch\u00e9. To begin I share pre-performance thoughts \u2013 ideas of re-conceptualization and the construction of method. I follow with an account of pre-performance activities \u2013 the walk, collecting materials, transposing the music for alto flute, inserting new artefacts into the software, and rehearsals. Next come descriptions of the performance, and finally, I offer a reflective conclusion to the project. This project illuminated the quotidian through sound, image and text, transforming the everydayness of a walk along a disused railway track, turned walking\/cycling track, in Victoria, Australia, into an extraordinary musical work, creating a shift from a knowing about to a knowing from within, from playing and doing to reflective awareness.<\/jats:p>\n keywords: flute, performance, electroacoustic music, phenomenology, place<\/jats:p>","DOI":"10.22501\/jar.1260967","type":"journal-article","created":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T06:03:23Z","timestamp":1666937003000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing the ecstasis: An interpretation of Katharine Norman\u2019s Making Place for instrument\/s and electronics"],"prefix":"10.22501","author":[{"family":"Jean Penny","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:03:19Z","timestamp":1784282599000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1260967\/1753737"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jar.1260967","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:06Z","timestamp":1784289846806,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2016,2,5]],"date-time":"2016-02-05T00:00:00Z","timestamp":1454630400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,2,5]]},"abstract":"\u2018Nietzsche 5 : The Fragmentary\u2019 is a collaborative research exposition, which presents a number of compositions by the young Friedrich Nietzsche (organised top to bottom) as well as various layers of reflection, interrogation, and speculation (organised left to right). It focuses on a moment of transformation around 1872 when Nietzsche moved from a serious interest in music composition to a career as a writer and philosopher. This period also coincides with the breakdown of Nietzsche\u2019s friendship with Richard Wagner. The exposition suggests that Nietzsche\u2019s own music as well as that of Wagner serves as a (negative) point of reference for the later Nietzsche, whose work, following Maurice Blanchot amongst others, can be characterised through the notion of the fragmentary, which places it also in relation to early Romanticism, in particular the writings of Friedrich Schlegel, Novalis, and Friedrich H\u00f6lderlin. While Nietzsche\u2019s more monumental compositions, such as his unfinished Mass (1860) and the symphonic poem Ermanarich (1861), may be more problematic, the exposition suggests that in some smaller pieces \u2013 in particular in So lach doch mal (1862) and Das \u2018Fragment an sich\u2019 (1871) \u2013 a sense of the fragmentary in Nietzsche may already be constructed.Beyond interpretations that focus more narrowly on Nietzsche\u2019s work, this research exposition sets out to render the notion of the fragmentary productive for the wider context of artistic research. It does so with reference to Nietzsche\u2019s notion of the untimely as a way to challenge both the dominant instrumentalisation of research and the notion of contemporaneity that seems central to present-day artistic practice. This not only provides perspectives into artistic epistemologies but also, more concretely, provides the methodology by which the research itself and its exposition have progressed. The overall mode is, thus, also that of the fragmentary, in which various media including text and image as well as audio and video recordings are distributed across a two-dimensional grid allowing multiple relationships and readings to emerge. The research exposition aims not only to discuss but ultimately also to employ the fragmentary so as to touch upon a specific artistic and intellectual motivation that we have come to identify with Nietzsche and which we suggest is also relevant today.<\/jats:p>\n keywords: Nietzsche, artistic research, contemporaneity, epistemology, expositionality, fragment, the fragmentary, historicity, MusicExperiment21, untimely, Wagner, work<\/jats:p>","DOI":"10.22501\/ruu.145982","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:17Z","timestamp":1503635057000},"source":"Crossref","is-referenced-by-count":0,"title":["Nietzsche 5 : The Fragmentary"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-1073-4740","authenticated-orcid":false,"family":"Michael Schwab","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Paulo de Assis","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:19:06Z","timestamp":1784287146000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/145982\/145983"}},"issued":{"date-parts":[[2016,2,5]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/ruu.145982","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2016,2,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:02:57Z","timestamp":1784289777518,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2024,10,29]]},"abstract":"The education of a classical violinist \u2013 or mine at least, and I see scant evidence that anything else holds today \u2013 begins based on a mainstream Romantic ideal consisting of works, geniuses, and concepts of musical authenticity. This is quite useful as a tool to cajole the young violinist into learning the essentials of tone production and playing styles but is at odds with a questioning attitude towards normative traditions that might allow the musician greater interpretive freedom after gaining that technique. While the historically informed performance (HIP) movement was an early, important manifestation of this sort of questioning attitude, the experimental\/avantgarde tradition, which has run parallel to these others from the early twentieth century, has not often been applied to the interpretation of historical music. The experimental tradition does not assume conventional tone production or historical authenticity: instead, it is asking the musician to interpret the symbols on the page according to their own artistically informed predilections and contexts to produce new performances emanating from the artwork, thereby transferring more responsibility for the performance from the composer to the musician. To what extent might the experience of the performer be allowed to contribute to the performance of a historical work? As part of a three-year artistic research project in Stockholm, I have been looking into ways of using interpretive techniques gleaned from the study of new music and applying these to historical works. This article describes some existing research that questions the traditional interpretive paradigm, along with the ontology of a musical work and its interpretation, and concludes with a case study, \u201cThe Labyrinth,\u201d showing one way that these sorts of attitudes can be put into practice for a genre of music to which they seldom, if ever, have been applied.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.2082339","type":"journal-article","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T04:17:07Z","timestamp":1730175427000},"source":"Crossref","is-referenced-by-count":0,"title":["The Labyrinth: using new music experience in the performance of historical music"],"prefix":"10.22501","author":[{"family":"George Kentros","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:28Z","timestamp":1784286268000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2082339\/2082340"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2082339","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2024,10,29]]}},{"indexed":{"date-parts":[[2026,9,3]],"date-time":"2026-09-03T13:17:41Z","timestamp":1788441461447,"version":"build-2803163510"},"posted":{"date-parts":[[2026,9,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,9,3]],"date-time":"2026-09-03T00:00:00Z","timestamp":1788393600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I was born in 1979. For a long time, my birth existed only as a story told by others. Photographs from my caesarean birth, lost and returned by detour after my mother's death, became the starting point of this work. The Mouldy Box submits this family archive, photographs aged and marked by mould, to generative processes of algorithmic expansion. The system does not merely restore the scene: it populates it with presences that were never there, entities that were not summoned and stayed. Error takes on a revealing function here, exposing the logic that sustains the image and questioning what remains of memory when the machine decides to invent.<\/jats:p>\n keywords: fotografia, arquivo familiar, intelig\u00eancia artificial generativa, erro, mem\u00f3ria, nascimento, magia<\/jats:p>","DOI":"10.22501\/rc.4731498","type":"posted-content","created":{"date-parts":[[2026,9,3]],"date-time":"2026-09-03T12:47:08Z","timestamp":1788439628000},"source":"Crossref","is-referenced-by-count":0,"title":["The Mouldy Box"],"prefix":"10.22501","author":[{"family":"Giselle Hinterholz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,9,3]],"date-time":"2026-09-03T12:47:09Z","timestamp":1788439629000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4731498\/4731499"}},"issued":{"date-parts":[[2026,9,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4731498","published":{"date-parts":[[2026,9,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,9,17]],"date-time":"2026-09-17T07:03:01Z","timestamp":1789628581140,"version":"build-2803163510"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,9,17]],"date-time":"2026-09-17T00:00:00Z","timestamp":1789603200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uis"],"published-print":{"date-parts":[[2026,9,17]]},"abstract":"The point of departure for my artistic research project is the piece Ng, composed by me in 2014 for an ensemble of three musicians without instruments and three dancers. Having reached a critical point in my own practice as a saxophonist where the identity of my music and that of the instrument seemed too intricately intertwined and convoluted, I happened to attend a dance rehearsal where the choreography was rehearsed without accompanying music. I listened to the rehearsal with my eyes closed, activated the situation musically and suddenly found myself in a soundscape that was full of musical possibilities seemingly free of much of the problems with western music that the saxophone represented for me. Possibilities that I tried to make sense out of when composing Ng. Approaching an interdisciplinary perspective towards choreography and dance, the movement of the human body became the music material. The sounds that appeared did not originate from an instrument built with the purpose of projecting a certain sound on to the world; they were of this world and in that sense concrete. But they were also of human anatomy and in that sense, I believed, more malleable than other concrete sounds and already in a close relationship to human perception and understanding. I hoped that, by abandoning the music instrument and approaching a choreographic perspective, I would contribute to the theories and practices of western art music while also challenging conventions that I felt was weighing it down\u2014just as the saxophone weighed around my neck. During my artistic research project I intend to challenge Ng and investigate the concepts behind it more thoroughly before finally revisiting and reworking it with the knowledge gained during the research project. Does a choreographic approach offer a substantial addition to western art music theory and practice? Can such a premise challenge how music notation is approached and help expanding how music structure is thought of beyond how it is communicated through notation? Can it change time measuring mechanisms of music and advance the way space is approached? The disposition of my research project is such that I can criticize the ideas of Ng in retrospect, while still actively working on refining them both in practice and theory through Ng revisited. In juxtaposing Ng and Ng revisited I hope that my research questions, my methods, the context of my research and whatever new knowledge my research project can offer will become clear while simultaneously activated by, and contained in, my own artistic practice. As such coalescing concept, form, theory, material and presentation; something that I believe is an important ambition of artistic research.<\/jats:p>\n keywords: artistic research, music, Choreography<\/jats:p>","DOI":"10.22501\/rc.395848","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:13:49Z","timestamp":1684746829000},"source":"Crossref","is-referenced-by-count":0,"title":["Ng revisited"],"prefix":"10.22501","author":[{"family":"Johan Jutterstr\u00f6m","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Stavanger"],"language":"en","deposited":{"date-parts":[[2026,9,17]],"date-time":"2026-09-17T06:13:31Z","timestamp":1789625611000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/395848\/395849"}},"issued":{"date-parts":[[2026,9,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/rc.395848","published":{"date-parts":[[2026,9,17]]}},{"indexed":{"date-parts":[[2026,9,17]],"date-time":"2026-09-17T12:05:43Z","timestamp":1789646743668,"version":"4.0.0"},"posted":{"date-parts":[[2026,9,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,9,17]],"date-time":"2026-09-17T00:00:00Z","timestamp":1789603200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cosmiknot began as a collective exhibition in the Way Out East Gallery of the University of East London MArch 2023. In creating the group I was principally concerned with disrupting the subtext of competition that a group show might invoke. I was inspired by the speculative research of Plastique Fantastique and my own experience of creating a fictional art-pop ensemble. I recognised how a collective empowers the members to lean into a richer and contextualised form of meaning. A collective allows the members to take risks and become more ambitious for their practice. I considered it important to offer an alternative to the habit of reading data out of context and this was achieved by playfully engaging and returning to a ritual way of engaging. Key to this was representing the collective two times, October 2023 and 2024, in Athens at The Platforms Projects art fair for collectives. Cosmiknot were one of the only true collectives at the fair and our daily ritual performances drew a consistently large and engaged audience. We took risks, we improvised, we applied conviction to intuitive seeds of ideas and we supported each other. Rather than being philosophical it is an \u201cactual occasion\u201d. This research practice speculates for a euphoritopian moment that there is hope of technology being reclaimed as a ritual apparatus inside the extra-embodied meaning as part of the event of nature. These ceremonial research methods invoke the lyric voice of a liminal middle as part of a radical experience that unforgets its indigenousness to the past-future-present. Seeking always to decentre the human and recollect the collective contingent understanding of the ever-present present.<\/jats:p>\n keywords: speculative practice, fictioning, barad, bennet, nagel, ritual, ceremony, performative research<\/jats:p>","DOI":"10.22501\/rc.2742404","type":"posted-content","created":{"date-parts":[[2026,9,17]],"date-time":"2026-09-17T11:46:27Z","timestamp":1789645587000},"source":"Crossref","is-referenced-by-count":0,"title":["Cosmiknots and Synching Kitchen Rituals"],"prefix":"10.22501","author":[{"family":"Kimey Peckpo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,9,17]],"date-time":"2026-09-17T11:46:27Z","timestamp":1789645587000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2742404\/2742405"}},"issued":{"date-parts":[[2026,9,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2742404","published":{"date-parts":[[2026,9,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,10,2]],"date-time":"2026-10-02T22:08:07Z","timestamp":1790978887673,"version":"4.1.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0095","type":"journal-article","created":{"date-parts":[[2026,7,9]],"date-time":"2026-07-09T07:09:50Z","timestamp":1783580990000},"source":"Crossref","is-referenced-by-count":1,"title":["Artistic Research and the Lingering Gaze of Thought"],"prefix":"10.22501","author":[{"given":"Henk","family":"Borgdorff","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","published-online":{"date-parts":[[2026,7,9]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2026,7,9]],"date-time":"2026-07-09T07:09:50Z","timestamp":1783580990000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-research-and-lingering-gaze-thought"}},"issued":{"date-parts":[[2026,7,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0095","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2026,7,9]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:23:37Z","timestamp":1725927817077},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,7,4]]},"DOI":"10.22501\/koncon.2387217","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:32:32Z","timestamp":1725874352000},"source":"Crossref","is-referenced-by-count":0,"title":["Harp literature of Slovenian composers in the 20th century: interpretative challenges and possibilities and parallels with European literature in three Concertos"],"prefix":"10.22501","author":[{"family":"Jernej Mi\u0161i\u010d","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:32:33Z","timestamp":1725874353000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2387217\/2588142"}},"issued":{"date-parts":[[2024,7,4]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2387217","published":{"date-parts":[[2024,7,4]]}},{"indexed":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T12:40:24Z","timestamp":1684759224137},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2021,10,18]]},"DOI":"10.22501\/nmh-ar.417771","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T11:37:17Z","timestamp":1618313837000},"source":"Crossref","is-referenced-by-count":0,"title":["New instruments for Music Exploration"],"prefix":"10.22501","author":[{"family":"Kjell Tore Innervik","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T12:14:35Z","timestamp":1684757675000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/417771\/417772"}},"issued":{"date-parts":[[2021,10,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.417771","published":{"date-parts":[[2021,10,18]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:05Z","timestamp":1742358185192,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0075","type":"journal-article","created":{"date-parts":[[2024,12,29]],"date-time":"2024-12-29T18:02:08Z","timestamp":1735495328000},"source":"Crossref","is-referenced-by-count":0,"title":["El \u00e1rbol del conocimiento. Visualizaci\u00f3n, materializaci\u00f3n y ense\u00f1anza de la investigaci\u00f3n en artes"],"prefix":"10.22501","author":[{"given":"Itzel","family":"Palacios Ruiz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:44Z","timestamp":1742292224000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/el-arbol-del-conocimiento-visualizacion-materializacion-y-ensenanza-de-la-investigacion-en-artes"}},"issued":{"date-parts":[[2024]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0075","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:49Z","timestamp":1784286289360,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2014,5,26]],"date-time":"2014-05-26T00:00:00Z","timestamp":1401062400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,5,26]]},"abstract":"Can different forms of dialogue influence the way we learn and think? This was the question that Amber Yared and Heather Davis set out to explore. Drawing upon examples from radical education, we were interested in how dialogic form changes the way we approach a topic and the different kinds of knowledge that it might produce. To experiment with this question, we engaged with three different forms of dialogue: interview, conversation, and metalogue \u2013 a style of dialogue where the form mirrors the content \u2013 which we engaged performatively in various forums. In the final iteration, we set up a booth where people could come and discuss education in one of these dialogic modes. To explore creative and democratic approaches to education, this project investigates the relation of form to content.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.57214","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T14:09:49Z","timestamp":1492438189000},"source":"Crossref","is-referenced-by-count":0,"title":["Talking in Circles: Interview, Conversation, Metalogue"],"prefix":"10.22501","author":[{"family":"Amber Yared","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Heather Davis","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:16:21Z","timestamp":1784283381000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/57214\/57215"}},"issued":{"date-parts":[[2014,5,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/jar.57214","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2014,5,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:53Z","timestamp":1784286293608,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2011,11,20]]},"abstract":"The exposition focuses on Oorwonde, a specific practical experiment within the research project Sounding sound art. The work, which falls somewhere between a sound installation and an interactive performance, consists of specially constructed stainless steel operating table upon which visitors, or \u2018patients\u2019 are invited to undergo \u2018aural surgery\u2019. Next to the concept and construction of Oorwonde, related practices are discussed in terms of their use of subsonic sound in interactive works or installations. The exposition introduces contextual information in regard to the artist\u2019s broader work on the question of what constitutes \u2018sound art\u2019, while it\u2019s main purpose remains the description and analysis of this new sound work, as a piece of artistic research.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.11733","type":"journal-article","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:05Z","timestamp":1497983825000},"source":"Crossref","is-referenced-by-count":0,"title":["Oorwonde - a tactile experience"],"prefix":"10.22501","author":[{"family":"Laura Maes","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:19:26Z","timestamp":1784283566000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/11733\/12055"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/jar.11733","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2011,11,20]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948888,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T00:00:00Z","timestamp":1772236800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This protocol stems from the desire to transform a disturbing, ambiguous material, linked to the imagery of oil and combustion, into a new body, a fragment that no longer belongs to industry but to art.Gasoline, a symbol of consumption, risk, volatility, and pollution, is removed from its functional destiny and brought back into the realm of pure matter, where it can be observed, listened to, and transformed. Powdered glue, a humble and domestic material, becomes the place where fuel loses its threat and allows itself to be captured, thickened, and fossilized.The result is not waste, but a modern industrial fossil: a fragment that tells the story of our time without glorifying it, that carries with it the memory of oil but not its violence, that transforms unease into form, light, skin.It is a gesture of subtraction and rewriting: no to disturbing oil. yes to art always.<\/jats:p>\n keywords: art, artwork, Sculpture, Contemporary art, artistic research, Giusirames<\/jats:p>","DOI":"10.22501\/rc.4202642","type":"posted-content","created":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T12:18:26Z","timestamp":1772281106000},"source":"Crossref","is-referenced-by-count":0,"title":["Artistic Protocol \u2013 Modern Industrial Fossil"],"prefix":"10.22501","author":[{"family":"Giusirames","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:05Z","timestamp":1784282225000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4202642\/4202641"}},"issued":{"date-parts":[[2026,2,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4202642","published":{"date-parts":[[2026,2,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:47Z","timestamp":1784369087641,"version":"3.55.0"},"posted":{"date-parts":[[2022,7,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,7,4]],"date-time":"2022-07-04T00:00:00Z","timestamp":1656892800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research is a contribution to a larger research project titled \u2018The Observation of Perception, considered through drawing\u2019, hosted by i2ADS. The research begins with the hypothesis that perception can be diagrammed, in this case through and as a form of drawing that indicates how perception is for this investigator conceived and works in action. One of the two visual motifs of the work is also a meta-motif, in that as an action-camera placed over the eyes, it is the means by which the investigator records himself at work on the second main motif, which is his image as viewed in a circular hand-held mirror. The investigator approaches the initiative as a question of diagramming the self-same initiative, accepting whatever are its developed implications as the aesthetic of the work. Peirce's division of the diagram into elements of firstness and secondness, with the elusive recognition of diagram as an abstract entity before any communicative purpose, keys into a working practice that in any case veers towards the diagrammatic. The investigator's tendency to audio-visually record his working process has led him to a position where the logistics of the purpose paradoxically reveal the subjectivity \u2013 if not absurdity \u2013 of the self-same process. In this case, little by little, a contingent factor of a wart takes centre-stage as blind spot; at-once a torn hole within the drawing's material surface, the action camera as an illusory obstruction, and a factor that oscillates with and as the circular self-portrait. The presentation takes the viewer\/reader through the process, largely perceptual, that is diagrammed on and as the artifactual outcome, the drawing.<\/jats:p>\n keywords: perception, drawing, diagram, audio-visual media, Perception and Consciousness, diagramming, audio-visual<\/jats:p>","DOI":"10.22501\/i2ads.1380190","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:09:22Z","timestamp":1727179762000},"source":"Crossref","is-referenced-by-count":0,"title":["Diagramming Perception"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:37Z","timestamp":1784366437000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1380190\/1380191"}},"issued":{"date-parts":[[2022,7,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.1380190","published":{"date-parts":[[2022,7,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:42Z","timestamp":1742358162180,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0023","type":"journal-article","created":{"date-parts":[[2019,12,20]],"date-time":"2019-12-20T10:42:18Z","timestamp":1576838538000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Paulo de Assis, \"Logic of Experimentation: Rethinking Music Performance through Artistic Research\""],"prefix":"10.22501","author":[{"given":"Ronald","family":"Bogue","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,12,19]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:59Z","timestamp":1742292179000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-paulo-de-assis-logic-experimentation-rethinking-music-performance-through-artistic-research"}},"issued":{"date-parts":[[2019,12,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0023","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,12,19]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407389,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0019","type":"journal-article","created":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T09:12:22Z","timestamp":1561713142000},"source":"Crossref","is-referenced-by-count":0,"title":["Inventing structure. Speculative notes on artistic and design research in Switzerland."],"prefix":"10.22501","author":[{"given":"Gabriel","family":"Fl\u00fcckiger","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Siri","family":"Peyer","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,6,23]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:56Z","timestamp":1742292176000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/inventing-structure-speculative-notes-artistic-and-design-research-switzerland"}},"issued":{"date-parts":[[2019,6,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0019","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,6,23]]}},{"indexed":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T05:29:38Z","timestamp":1740806978019,"version":"3.38.0"},"posted":{"date-parts":[[2025,2,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,27]],"date-time":"2025-02-27T00:00:00Z","timestamp":1740614400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cHavana Syndrome\u201d has so far been shrouded in a controversial secret as a medical condition and reluctantly made available in the scientific discourses. In spite of the reluctance, global availability of technologies to conduct the violations reported by the US diplomats was never a hidden agenda for conspiracies. US and various NGO accounts illustrate the deployments of these high-tech tools in warfare and beyond, targeting both diplomats and civilians.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3449118","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:08:02Z","timestamp":1740740882000},"source":"Crossref","is-referenced-by-count":0,"title":["The Orwellian Syndrome"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:08:02Z","timestamp":1740740882000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3449118\/3449117"}},"issued":{"date-parts":[[2025,2,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3449118","published":{"date-parts":[[2025,2,27]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:02Z","timestamp":1742358182922,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0045","type":"journal-article","created":{"date-parts":[[2021,5,24]],"date-time":"2021-05-24T09:59:21Z","timestamp":1621850361000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Jennie Klein and Natalie Loveless (eds.), \"Responding to Site: The Performance Art of Marilyn Arsem.\""],"prefix":"10.22501","author":[{"given":"Mareli","family":"Stolp","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,5,24]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:14Z","timestamp":1742292194000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-jennie-klein-and-natalie-loveless-eds-responding-site-performance-art-marilyn-arsem"}},"issued":{"date-parts":[[2021,5,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0045","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2021,5,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967794,"version":"3.55.0"},"posted":{"date-parts":[[2025,5,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,5,23]],"date-time":"2025-05-23T00:00:00Z","timestamp":1747958400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The project comprises text, location photos, photos of artworks, and video animations that record the experiences of a natural flood that affected house and studio. The project\u2019s content is a consideration of the consequences of the flood towards an existing project in progress at the time and on existing finished artwork. The finished exposition had two unsuccessful reviews; the first due to insufficiently proposing a workable consideration of failure, the second for insufficient clarity of purpose. As this self-published iteration, screenshots taken from the original iteration as formatted on the RC are overlaid with short summaries of aspects of the project\u2019s content, in terms pertaining to both the staining of the flood water and the often unacknowledged writing, re-writing, and over-writing of whatever is the language basis of one's practice. The screenshots, as simulated text-and-image cameos, have the summaries ranged next to them as legible text. The original submitted project is archived though accessible as a PDF only, along with its supplementary papers and video clips.<\/jats:p>\n keywords: Painting, drawing, language-based, theory and practice, Lacanian theory, subjectivity, Subject<\/jats:p>","DOI":"10.22501\/rc.3688697","type":"posted-content","created":{"date-parts":[[2025,5,23]],"date-time":"2025-05-23T03:21:52Z","timestamp":1747970512000},"source":"Crossref","is-referenced-by-count":0,"title":["Screenshot Cameos of \u2018After the Flood\u2019; a project archived"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:07Z","timestamp":1784282287000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3688697\/3688698"}},"issued":{"date-parts":[[2025,5,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3688697","published":{"date-parts":[[2025,5,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977762,"version":"3.55.0"},"posted":{"date-parts":[[2025,1,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T00:00:00Z","timestamp":1737417600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"How to How to Exercise Self-Control is a performative video piece centred around the Irritation Channelling Rings, created for the Tactilite exhibition at Hobusepea Gallery in 2021.These jewellery pieces invite a pseudomagical interaction, crafting a ritual where the rings serve as tools to soothe irritation and foster emotional transformation. Their dynamic nature is portrayed through movement, bodily interactions, and adaptability, with the visual blur enhancing their fluidity and transformative essence.Employing Haptic Visuality, this multisensory approach weaves together emotional resonance and speculative ritual, reimagining connection within a pseudomagical framework.Idea and performance: Darja PopolitovaVideo effects: Jakob TulveSound: Andres N\u00f5lvak\u00a9 Darja Popolitova<\/jats:p>\n keywords: pseudomagic, jewellerywitchSeraphita, darjapopolitova, popolitova, fictionalcharacter, artisticresearch, contemporaryjewellery, magicandart, spirituallychargedart, witchartist, contemporaryjewelry, Seraphita, languageassculpture<\/jats:p>","DOI":"10.22501\/rc.3353409","type":"posted-content","created":{"date-parts":[[2025,1,21]],"date-time":"2025-01-21T16:07:45Z","timestamp":1737475665000},"source":"Crossref","is-referenced-by-count":0,"title":["How to Exercise Self-Control"],"prefix":"10.22501","author":[{"family":"Jewellery witch Seraphita","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:24Z","timestamp":1784282304000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3353409\/3353410"}},"issued":{"date-parts":[[2025,1,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3353409","published":{"date-parts":[[2025,1,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:52Z","timestamp":1784282992964,"version":"3.55.0"},"posted":{"date-parts":[[2024,2,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,2,16]],"date-time":"2024-02-16T00:00:00Z","timestamp":1708041600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is the online, open-access audio album of 'Score: Mechanical Asynchronicity' by Danica Maier and Martin Scheuregger. The album allows you to play full ensemble versions of the project's two pieces, and also mix your own versions of each piece by combining and balancing the individual instruments. It accompanies the publication of a related 40-page book on the project from Beam Editions.<\/jats:p>\n keywords: music, experimental composition, fine art, drawing<\/jats:p>","DOI":"10.22501\/rc.2375737","type":"posted-content","created":{"date-parts":[[2024,2,16]],"date-time":"2024-02-16T09:37:10Z","timestamp":1708076230000},"source":"Crossref","is-referenced-by-count":0,"title":["Score: Mechanical Asynchronicity \u2013 audio album"],"prefix":"10.22501","author":[{"family":"Martin Scheuregger","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Danica Maier","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:54Z","timestamp":1784282334000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2375737\/2375736"}},"issued":{"date-parts":[[2024,2,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2375737","published":{"date-parts":[[2024,2,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:28Z","timestamp":1784289868004,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T00:00:00Z","timestamp":1715558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: Art and Conservation in the Post-Conflict, Supervisor: Cristina Garcia Grinda + Efr\u00e9n Diaz MorenoEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2738185","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:27:14Z","timestamp":1715585234000},"source":"Crossref","is-referenced-by-count":0,"title":["Art and Conservation of more-than-human Entities in the Post-Conflict"],"prefix":"10.22501","author":[{"family":"Marthin Rozo Casta\u00f1o","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:23:30Z","timestamp":1784287410000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738185\/2738186"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2738185","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:00Z","timestamp":1784289900228,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"03","license":[{"start":{"date-parts":[[2024,6,11]],"date-time":"2024-06-11T00:00:00Z","timestamp":1718064000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2024,6,11]]},"abstract":"There are good reasons to consider point of audition (POA) as a problematic term when writing about sound. This essay addresses the different challenges one meets when using the term and discusses different alternatives for future use of this terminology within the field of television sound. The motivation for rethinking the term is the analytical and descriptive problems raised when writing about recent trends in television sound in drama, sports, news, documentaries and other television genres. The argumentation refers to the flexible and creative uses of television sound today and discusses how various production examples can be better accounted for by refining the term point of audition. All in all, four categories of point of audition are suggested for analysis: observational, active, individual and personal POAs.<\/jats:p>\n keywords: Television sound, point of audition, sound terminology, sound perspectives<\/jats:p>","DOI":"10.22501\/jss.252390","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:24:41Z","timestamp":1733131481000},"source":"Crossref","is-referenced-by-count":0,"title":["The Relevance of Point of Audition in Television Sound: Rethinking a Problematic Term"],"prefix":"10.22501","author":[{"family":"Svein H\u00f8ier","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:31:12Z","timestamp":1784287872000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/252390\/252391"}},"issued":{"date-parts":[[2024,6,11]]},"references-count":0,"journal-issue":{"issue":"03"},"URL":"https:\/\/doi.org\/10.22501\/jss.252390","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2024,6,11]]}},{"indexed":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T11:10:29Z","timestamp":1767006629771,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0060","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T19:59:15Z","timestamp":1672343955000},"source":"Crossref","is-referenced-by-count":2,"title":["Artistic Research and the Need for a Paradigmatic Shift in Art Research"],"prefix":"10.22501","author":[{"given":"Erlend","family":"Hovland","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2022]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:26Z","timestamp":1742292206000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-research-and-need-paradigmatic-shift-art-research"}},"issued":{"date-parts":[[2022]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0060","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2022]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:42Z","timestamp":1784282982758,"version":"3.55.0"},"posted":{"date-parts":[[2024,11,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,11,19]],"date-time":"2024-11-19T00:00:00Z","timestamp":1731974400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This video article presents two pedagogical applications of the artistic research project \"Expanding Horizons\" for ensembles with adult music students of diverse musical backgrounds. The project is centered around practical explorations of applying improvisation to repertoire from 20th-century Western classical music, in combination with qualitative methods such as autoethnography, participant-observation and semi-structured interviews. The examples in the video demonstrates how approaches that are developed in the project can be applied to pedagogical situations, based on ensemble workshops with musicians of different musical orientations enrolled in music performance programmes in Sweden, one with university-level students in a bachelor programme and another with students at a folk high school. Two pieces were selected and adapted for these situations: Lili Boulanger\u2019s Cort\u00e9ge (1914) and Maurice Ravel\u2019s String quartet in F, movement II (1903). During the workshops, these pieces were then re-worked in a collaborative manner, with an emphasis on mutual exploration and musical expressivity through improvisation. The main pedagogical considerations were: selecting the appropriate repertoire, adapting materials for diverse learners, and fostering agency among performers. Although the improvisational approaches presented are rooted in jazz performance practice, the examples demonstrate how improvisational frameworks can be adapted for music students across musical genres, showcasing the potential for creativity, collaboration and interdisciplinary learning in music education.<\/jats:p>\n keywords: 20th century music, improvisation, Music Education, artistic research, jazz, classical music<\/jats:p>","DOI":"10.22501\/rc.3012775","type":"posted-content","created":{"date-parts":[[2024,11,19]],"date-time":"2024-11-19T02:49:13Z","timestamp":1731984553000},"source":"Crossref","is-referenced-by-count":0,"title":["Expanding horizons - ensemble improvisation on 20th-century classical music (video article)"],"prefix":"10.22501","author":[{"family":"Peter Knudsen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:32Z","timestamp":1784282312000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3012775\/3012747"}},"issued":{"date-parts":[[2024,11,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3012775","published":{"date-parts":[[2024,11,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:48Z","timestamp":1784289888520,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T00:00:00Z","timestamp":1679270400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,3,20]]},"abstract":"Tanja Kimmel (Institute of Conservation and PhD candidate Doctoral Programme in Philosophy) addresses the question of how art collections and conservation can become sustainable in her contribution \"Making museum repositories greener\". Sustainability poses a challenge for the art sector. While museums serve as role models for society and can thus contribute significantly to the discourse, they also have very high energy consumption and CO2 emissions due to their complex climatic technology. Kimmel mentions current initiatives and sustainability concepts of museums in Austria and abroad and discusses a case study featured in her dissertation that conducts a CO2 assessment of the central storage of the Kunsthistorisches Museum Wien in order to create the first profound data basis on climate-damaging emissions, which will then facilitate further action.<\/jats:p>\n keywords: sustainability, museum studies, Museumstorage, Climate Change, Climate Activism<\/jats:p>","DOI":"10.22501\/repos.1840995","type":"journal-article","created":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T06:41:02Z","timestamp":1679294462000},"source":"Crossref","is-referenced-by-count":0,"title":["Making museum repositories greener"],"prefix":"10.22501","author":[{"family":"Tanja Kimmel","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:26:26Z","timestamp":1784287586000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1840995\/1840996"}},"issued":{"date-parts":[[2023,3,20]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/repos.1840995","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2023,3,20]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948880,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,1]],"date-time":"2026-03-01T00:00:00Z","timestamp":1772323200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In the late 19th century after conquering Congo, King Leopold II of Belgium, was dreaming of building a railway between his private castle in Brussels and a nearby train station. The project was started but never finished. The works, however, unearthed a source of water that turned the land into a swamp. The purity of that spring water created perfect conditions for a watercress farm that operates until today. What does the watercress dream about, today? In this context of historical toxicity and food production, Pierre Rubio (artist-researcher-dancer) has invited Christina Stadlbauer (artist & researcher) and Roger F\u00e4hndrich (artist-musician-performer) to imagine answers in the form of a multi-layered performance.<\/jats:p>\n keywords: watercress, performance, toxicity, History<\/jats:p>","DOI":"10.22501\/rc.4224695","type":"posted-content","created":{"date-parts":[[2026,3,1]],"date-time":"2026-03-01T20:27:54Z","timestamp":1772396874000},"source":"Crossref","is-referenced-by-count":0,"title":["What does Watercress Dream About?"],"prefix":"10.22501","author":[{"family":"Christina Stadlbauer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:05Z","timestamp":1784282225000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4224695\/4224696"}},"issued":{"date-parts":[[2026,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4224695","published":{"date-parts":[[2026,3,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:35Z","timestamp":1784282975929,"version":"3.55.0"},"posted":{"date-parts":[[2026,6,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,6,28]],"date-time":"2026-06-28T00:00:00Z","timestamp":1782604800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This reserach paper analyzes the artistic and musical career and evolution of legendary bassist pino paladino<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4724524","type":"posted-content","created":{"date-parts":[[2026,6,28]],"date-time":"2026-06-28T14:07:30Z","timestamp":1782655650000},"source":"Crossref","is-referenced-by-count":0,"title":["PINO PALADINO"],"prefix":"10.22501","author":[{"family":"Victor Calzada Basso","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:31Z","timestamp":1784282191000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4724524\/4724523"}},"issued":{"date-parts":[[2026,6,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4724524","published":{"date-parts":[[2026,6,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:57Z","timestamp":1784282997891,"version":"3.55.0"},"posted":{"date-parts":[[2026,6,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T00:00:00Z","timestamp":1781481600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Exposition of gestures and symbols of an artist that experienced a sexual abuse as a child<\/jats:p>\n keywords: gestures, gestos, sexual abuse, abuso sexual, media, poema, poemas, poem, poems, Poesia, Poetry, sketches, desenhos<\/jats:p>","DOI":"10.22501\/rc.4247044","type":"posted-content","created":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T02:45:32Z","timestamp":1781491532000},"source":"Crossref","is-referenced-by-count":0,"title":["These are the gestures"],"prefix":"10.22501","author":[{"family":"Jorge Lu\u00eds Castro","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:33Z","timestamp":1784282193000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4247044\/4247048"}},"issued":{"date-parts":[[2026,6,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4247044","published":{"date-parts":[[2026,6,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:52Z","timestamp":1784282992971,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,29]],"date-time":"2024-06-29T00:00:00Z","timestamp":1719619200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This website provides musical examples linked to my analyses of Eug\u00e8ne Ysa\u00ffe's annotations on scores of C\u00e9sar Franck's 'Sonate pour piano et violon'. It is an appendix to the article: Joanna Staruch-Smolec, 'Reinterpreting Ysa\u00ffe\u2019s Annotations. Musical sources relating to Franck\u2019s Sonata in Viola Mitchell\u2019s collection (Juilliard School Library)', Revue belge de Musicologie, 2025.<\/jats:p>\n keywords: violin, Ysa\u00ffe, Franck, Sonata, annotations, performance practice, 19th century, 19th-century performance practice, gut strings, music<\/jats:p>","DOI":"10.22501\/rc.2703490","type":"posted-content","created":{"date-parts":[[2024,6,29]],"date-time":"2024-06-29T16:15:00Z","timestamp":1719677700000},"source":"Crossref","is-referenced-by-count":0,"title":["Reinterpreting Ysa\u00ffe\u2019s Annotations - Franck's Sonata - Audio Examples"],"prefix":"10.22501","author":[{"family":"Joanna Staruch-Smolec","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:42Z","timestamp":1784282322000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2703490\/2703491"}},"issued":{"date-parts":[[2024,6,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2703490","published":{"date-parts":[[2024,6,29]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:51Z","timestamp":1784286291740,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2013,6,18]],"date-time":"2013-06-18T00:00:00Z","timestamp":1371513600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2013,6,18]]},"abstract":"In order to create conditions for an engaged artistic production improving the knowledge on the theme and its no-more existent site, a research was conducted to identify space and sound attributes in people\u2019s memories. Performing activities, the ex-miners endowed the mine space significance creating a particular relation with it. Through talks the ex-miners of the mine of Winterslag [Genk, Belgium] were led to find the \u201clost sounds\u201d throughout their memories. The idea is to use the collected data to [re]create sound-memories which could be implemented in an old mining site, encouraging people to explore this site in a different way.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.30418","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T05:25:56Z","timestamp":1492406756000},"source":"Crossref","is-referenced-by-count":0,"title":["Innerground_ an Exploration of a Disused Mine Through the Memories of Former Miners"],"prefix":"10.22501","author":[{"family":"Carolina Goradesky","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:18:00Z","timestamp":1784283480000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/30418\/30419"}},"issued":{"date-parts":[[2013,6,18]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/jar.30418","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2013,6,18]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:55Z","timestamp":1784289895864,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T00:00:00Z","timestamp":1743638400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,4,3]]},"abstract":"Sashko Protyah is a film director and activist from Mariupol, Ukraine. He's a co-founder of Freefilmers, a collective of artists and filmmakers. In his films, he works with topics of memory, otherness, and alienation. Now Sashko is based in Zaporizhzhia and volunteers for IDPs and the Ukrainian army.This interview was taken in February 2024 over email.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.2780442","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T03:10:52Z","timestamp":1743649852000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cSongs of despair and freedom\u201d. Interview with Sashko Protyah."],"prefix":"10.22501","author":[{"family":"Vadim Keylin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:29:58Z","timestamp":1784287798000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2780442\/2780443"}},"issued":{"date-parts":[[2025,4,3]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jss.2780442","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2025,4,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:14Z","timestamp":1784289914225,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2023,3,6]],"date-time":"2023-03-06T00:00:00Z","timestamp":1678060800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2023,3,6]]},"abstract":"The writing that follows (interspersed between other articles) is a series of personal reflections on \u201clistening\u201d \u2013 a term which, for me, refers to an embodied attentive state, including but not limited to the ears. I write from my own experiences as a trans non-binary person of colour and reflect specifically on the ways in which listening work relates to anti-racist and anti-colonial work. Within the writing, certain words are hyperlinks. These are offered as moments of dialogue \u2013 moments where you are invited, if you wish, to read other texts that are in relationship with the particular word, phrase, or idea that is linked. At the end of the section titled \u201c4. Portals,\u201d there is a short list of links to artists and authors who are directly mentioned in the text as well as a list of further references in case they are of interest.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.1912571","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:10Z","timestamp":1733131510000},"source":"Crossref","is-referenced-by-count":0,"title":["Collective listening as survival: how to be not okay together"],"prefix":"10.22501","author":[{"family":"Rajni Shah","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:33:26Z","timestamp":1784288006000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1912571\/1912570"}},"issued":{"date-parts":[[2023,3,6]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jss.1912571","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2023,3,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:28Z","timestamp":1784286508762,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Marios SpyrouMain Subject: Jazz DrumsResearch Supervisor: Jarmo HoogendijkTitle of Research: The Philly Joe Jones Rudimental Soloing Style Research Question: How can classical exercises be incorporated into jazz improvisations and still sound spontaneous, creative and true to the jazz drumming idiom?\u00a0Summary of Results: Before starting this research at the Royal Conservatoire of The Hague, I was not so aware as how to express myself and phrase on the drum set. By studying the history of the instrument, I have found out that all the great jazz drummers have adopted and incorporated the 26 American drum rudiments in their playing, which include several sticking patterns \u201cborrowed\u201d from the classical music and the Swiss Army drum corps. These rudiments are like scales for melodic \u2013 instrument players, who have to practice and know them very well in order to gain technique and express themselves on their instruments. The same applies to drummers using these 26 sticking patterns. While I was listening to the great jazz drummers, I discovered that a perfect example for this is Philly Joe Jones. You can clearly hear in his soloing that he is using these rudiments in his own unique way, making them sound swinging and therefore adopting them into the bebop drumming. I therefore decided to take Philly Joe as my main \u201cmodel\u201d for this research. I started transcribing his solos and analyzing his phrasing, making my own variations and phrases based on this rudimental approach. My final result is that I can know phrase on the drums and express myself freely whenever I have to take a solo, without copying or playing standard phrases from jazz drummers like I used to do in the past, while still sounding authentic and true to the jazz drumming style. Biography:Marios Spyrou was born in Nicosia in 1990. He was inspired by from an early age by his father, who is also a jazz drummer. At the age of 19 he enrolled in University of Nicosia from where he graduated. There he met the great Cypriot saxophonist Charis Ioannou and started being interested in Jazz music. He attended the Bicommunal Jazz Program seminars in Cyprus led by the great New York Jazz virtuosos Ari Roland, Chris Byars and other well-known Jazz musicians. While attending these seminars, Marios was influenced by the jazz drummer Keith Balla who introduced him into the world of bebop style. In 2015 he moved to The Hague, where he is currently studying with the legendary jazz drummer Eric Ineke. On May 2015 he won the second price of the 1st Apollon Jazz competition in Greece with the Cypriot jazz band BopCy.<\/jats:p>\n keywords: Rudiments, Classical Exersice, Philly Joe Jones, Drum Solo, Jazz Drums<\/jats:p>","DOI":"10.22501\/koncon.306978","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:44:54Z","timestamp":1725907494000},"source":"Crossref","is-referenced-by-count":0,"title":["The Philly Joe Jones Rudimental Soloing Style"],"prefix":"10.22501","author":[{"family":"Marios Spyrou","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:49:01Z","timestamp":1784285341000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/306978\/306979"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.306978","published":{"date-parts":[[2017,9,11]]}},{"institution":[{"name":"Universitetet i Bergen","acronym":["UiB"],"place":["Bergen"],"department":["KMD"]}],"indexed":{"date-parts":[[2024,8,7]],"date-time":"2024-08-07T04:56:59Z","timestamp":1723006619219},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Topographies of the Obsolete is an artistic research project initiated by Professors Neil Brownsword and Anne Helen Mydland at Bergen Academy of Art and Design (KHiB) in collaboration with partner universities\/institutions in Denmark, Germany, Switzerland, France and the UK. In 2012 the British Ceramics Biennial invited Bergen Academy of Art and Design (KHiB) to develop a site-specific artistic response to the former Spode Factory in Stoke-on-Trent as a key element of their 2013 exhibition programme. The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes.<\/jats:p>","DOI":"10.22501\/kmd-ar.368689","type":"dissertation","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:32:06Z","timestamp":1623054726000},"approved":{"date-parts":[[2018,1,1]]},"source":"Crossref","is-referenced-by-count":0,"title":["Topographies of the Obsolete"],"prefix":"10.22501","author":[{"sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"name":"Universitetet i Bergen","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Neil","family":"Brownsword","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Anne Helen","family":"Mydland","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:32:07Z","timestamp":1623054727000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/368689\/812819"}},"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.368689"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:18Z","timestamp":1784283078038,"version":"3.55.0"},"posted":{"date-parts":[[2014,5,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2014,5,7]],"date-time":"2014-05-07T00:00:00Z","timestamp":1399420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay questions whether-or-not artists always destroyed the art experience by imposing learned understanding over what they do. I am considering the idea that art history has led us to believe that established work practices allowed artists to create an experience we call art, when, with hindsight, we can now see that they actually work to suppress the sensation. My premise here is that any Research Based Artistic Practice would have to be set up to describe art as a sensation that only enters our thoughts when we find ourselves at a loss to understand what confronts us.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.51003","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:11Z","timestamp":1498053311000},"source":"Crossref","is-referenced-by-count":0,"title":["Do Ideas Contaminate the Art Experience?"],"prefix":"10.22501","author":[{"family":"Christopher Hollins","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:05Z","timestamp":1784282465000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/51003\/51004"}},"issued":{"date-parts":[[2014,5,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.51003","published":{"date-parts":[[2014,5,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:04Z","timestamp":1784289964270,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"06","license":[{"start":{"date-parts":[[2018,6,29]],"date-time":"2018-06-29T00:00:00Z","timestamp":1530230400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,29]]},"abstract":"The term sound designer is a relatively new addition to the professional roles in a film sound crew. Its use can be traced to the 1970s when the dismantlement of some major Hollywood studios gave space for more experimental approaches to film making. A study on acoustic ecologies and cinema sound allowed for creative and altruistic collaborations with some Australian cinema professionals. Subsequent face-to-face interviews and correspondence with the participants to the study pointed to the humanity and concerns at play behind the screen. It is apparent that the capacity of sound designer cannot be pigeonholed: it oscillates according to the demands of a film production and depends on its director\u2019s and financial backers' sonic awareness. Amongst professional sound makers themselves exists a lack of consensus on the role and importance of the position of sound designer. The author proposes a way to lessen professional ambiguity and increase public recognition of atmospheric cinema sound. Invoking atmospheric sound at the inception of an audio-visual narrative could reward its makers and audiences in unsuspected ways. To acknowledge sound designers as architects of sensations and, by the same token, include viscerality and affect as creative elements of film production, could lead to a different appreciation of our lives in sound.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.236548","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:58Z","timestamp":1733131558000},"source":"Crossref","is-referenced-by-count":0,"title":["Tuned In and Hands On: Sound Designers Beyond Technical Expertise"],"prefix":"10.22501","author":[{"family":"Isabelle Delmotte","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:40:56Z","timestamp":1784288456000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/236548\/236549"}},"issued":{"date-parts":[[2018,6,29]]},"references-count":0,"journal-issue":{"issue":"06"},"URL":"https:\/\/doi.org\/10.22501\/jss.236548","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:48Z","timestamp":1784282988092,"version":"3.55.0"},"posted":{"date-parts":[[2019,12,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,12,28]],"date-time":"2019-12-28T00:00:00Z","timestamp":1577491200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The project is an artistic research project focusing on the saxophone\udbff\udc01s ability to produce multiphonics (multiple sounds on an instrument considered monophonic). It is a personal artistic exploration into the process of unfolding the poetics of these complex sonics and a reflection over the process, methods and the creation of an album trilogy, consisting of acoustic solo music recorded during the research period.The main question I have been asking myself during this project has been:What happens if the raw musical material, in the creation of a set of solo saxophone works, is based on the multiphonics only and what this material in itself suggest \u2013 possibly independent of any stylistic affiliation?\u2028My main objective was to examine why the saxophone\u2019s multiphonics have such a captivating effect on me. How could I possibly explore their intrinsic qualities and unfold the poetic potential in them? By the same token, my ambition was to find a suitable artistic context for this enamored relationship that so heavily has stirred the waves of my imagination.In the reflection text on the project, I disclose how some unexpected paths during this pursuit revealed themselves. From sprouting interest toward underwater soundscapes, to the making of a hybrid instrument called reed-trumpet; and how my personal catalog of multiple sounds found its place, not in a public pdf-document or book release, but in a German wooden archive box.I relay in what way I began to take on the intrinsic qualities of the multiphonics and the reason why an oscillation between artistic intention and action is so pivotal for an improviser. To make sure that the project had this focus at all time I sat up a dogma that contains a list of eight fundamental criteria that manifest the intentions and structure as well as sharpen the working methods.<\/jats:p>\n keywords: multiphonics, improvisation, reeds, RMC staff<\/jats:p>","DOI":"10.22501\/rc.518792","type":"posted-content","created":{"date-parts":[[2019,10,9]],"date-time":"2019-10-09T06:46:24Z","timestamp":1570603584000},"source":"Crossref","is-referenced-by-count":0,"title":["The Poetics Of A Multiphonic Landscape"],"prefix":"10.22501","author":[{"family":"Torben Snekkestad","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:38Z","timestamp":1784282438000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/518792\/522412"}},"issued":{"date-parts":[[2019,12,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.518792","published":{"date-parts":[[2019,12,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:13Z","timestamp":1784286433559,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,5,3]],"date-time":"2021-05-03T00:00:00Z","timestamp":1620000000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,5,3]]},"abstract":"In the past three decades, the process of music-making moved away from operating analogue devices to using the software running inside of computers. While these advancements provide significant advantages, visually impaired people cannot fully benefit from this progress because some of the software tools are not accessible to them. The aim of this thesis is to explore the accessibility of music production tools for the visually impaired and propose an accessible eyes-free audio equalizer application controlled by a surface haptics interface. To determine the level of accessibility of music production software, this thesis reviews industry practices and research concerning assistive technology in music production by analysing the most popular digital audio workstations' accessibility features. Further, online interviews with visually impaired music producers are conducted to find out about the way they work and their experience with using the software.Finally, an equalizer with a visual display of the EQ curve for a surface haptic interface is designed and developed to explore a new human-computer interaction method that makes it possible to operate audio plugins eyes-free. Due to haptics feedback, the user can control the application in a non-visual way. To validate the application design and potential for improving the accessibility of music production tools, two tests with participants are conducted. The results show that it is possible to control audio equalizer only with haptic feedback. However, more development is needed to improve the user workflow.<\/jats:p>\n keywords: music production, audio, Accessibility, Art of Sound<\/jats:p>","DOI":"10.22501\/koncon.1186099","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:22Z","timestamp":1725907222000},"source":"Crossref","is-referenced-by-count":0,"title":["Accessibility of Music Production Software for the Visually Impaired: A study of developing an eyes-free audio application for a surface haptic interface"],"prefix":"10.22501","author":[{"family":"Jakub Pesek","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:40:09Z","timestamp":1784284809000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1186099\/1186100"}},"issued":{"date-parts":[[2021,5,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1186099","published":{"date-parts":[[2021,5,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:43Z","timestamp":1784286343727,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2026,5,12]],"date-time":"2026-05-12T00:00:00Z","timestamp":1778544000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,12]]},"abstract":"AbstractIn an increasingly mobile Europe, many students take the opportunity to do (a part of) their studies abroad. Music education systems, including solfege pedagogy, can differ extensively from one country to another, and migrating students are often expected to adjust. In The Netherlands, where this research is done, a number of conservatories use relative solmization. Most of our international students are coming from European countries where absolute solmization is the main (or even only) note-naming system. The first months of learning relative solmization is, for these students, paired with certain amount of frustration or even deprecation. Being a kind of musical mother-tongue, absolute solmization cannot (and should not) be unlearned; it remains active at least in the background. The students in focus, thus, use both \u2018languages\u2019 in parallel. Without the intension of advocating for any of the solmization systems, in this research I am investigating the cognitive challenges that students can experience in this situation. With the aim of a better understanding of what happens in the first months of the learning process (in the context of parallel use of both solmization systems), I have analyzed the situation from the perspective of cognitive psychology, learning theories and theories of bilingualism. Several aspects come to fore: 1) verbal association, as a core principle in the pedagogical effect of relative solmization, but at the same time also active in absolute note naming, 2) importance of automatization of verbal associations (audiation), 3) competing naming systems, language (solmization) activation, and 4) high cognitive load in reading tasks. Next to this, I have conducted (preliminary) interviews with students of the first and the second year, in which the main focus was on the student\u2019s experience in parallel use of the two solmization systems. Among other things, the students reported the ways they \u2018calculate\u2019 the relative note names, their awareness of the relative pitch within the process of reading, and the reading strategies that they find efficient.<\/jats:p>\n keywords: solfege, solmization, automaticity, cognitive load, bilingualism, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/koncon.3350529","type":"journal-article","created":{"date-parts":[[2026,5,11]],"date-time":"2026-05-11T17:30:57Z","timestamp":1778520657000},"source":"Crossref","is-referenced-by-count":0,"title":["When La is Re: Parallel use of absolute and relative solmization"],"prefix":"10.22501","author":[{"family":"Ida Vujovi\u0107","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:22:10Z","timestamp":1784283730000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3350529\/3350530"}},"issued":{"date-parts":[[2026,5,12]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3350529","published":{"date-parts":[[2026,5,12]]}},{"indexed":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T09:03:19Z","timestamp":1779872599350,"version":"3.53.1"},"posted":{"date-parts":[[2026,5,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T00:00:00Z","timestamp":1779840000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition reflects on how machine learning can be integrated with algorithmic composition and live coding to expand digital music creation. The research examines how ML-driven sound analysis, training data, and interactive models reshape compositional workflows. By viewing machine learning as an interpretative and generative process rather than a mere tool, this project challenges conventional boundaries between data gathering, system design, and artistic practice. The discussion is framed through experimental approaches that merge sound synthesis, live coding, and model training, questioning how algorithmic systems can act as both agents of composition and reflective mirrors of musical intention. Through the interplay of structured data, generative models, and exploratory workflows, the study situates machine learning within a broader conversation about creativity, computation, and the evolving role of the composer-programmer.<\/jats:p>\n keywords: machine learning, live coding, sound synthesis, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/rc.2532879","type":"posted-content","created":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T08:22:37Z","timestamp":1779870157000},"source":"Crossref","is-referenced-by-count":0,"title":["Recomposing Data: Machine Learning as Compositional Process"],"prefix":"10.22501","author":[{"family":"Bjarni Gunnarsson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,5,27]],"date-time":"2026-05-27T08:22:37Z","timestamp":1779870157000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2532879\/2532880"}},"issued":{"date-parts":[[2026,5,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2532879","published":{"date-parts":[[2026,5,27]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:29Z","timestamp":1784286449816,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2018,9,24]],"date-time":"2018-09-24T00:00:00Z","timestamp":1537747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: Alexandra L\u00f3pez ArcaMain Subject: Classical ViolinResearch supervisor: Liesbeth AckermansTitle of Research: To bow, or not to bow. Modern bow vs. baroque bow: comparisons and inspirationsResearch Questions: To what extent do the shape and construction of the bow affect the violinist\u2019s sound and to what extent do her\/his use of the bow and musical choices influence the sound? What can a modern violinist learn from experimenting with a baroque bow? What are aspects of the evolution of the violin bow, its use and the evolution of right hand technique from the 18th century until now that are essential to be aware of when playing with both modern and baroque bow?Summary of Results:The bow is the soul of the violin. Playing with different bows alters our sound. Their shape and construction affect the articulation that we naturally get with them. This fact tells us a lot about the music for which they were built, and we can learn from it in a natural way. But when a violinist is only familiarised with a modern bow, the learning process with an old bow can hardly take place. It is better to know what the characteristics of each bow are and experimenting with them in order to get used to them. After having this experience, different attacks, articulations and nuances will emerge and facilitate the music for which every bow was thought. It is interesting to see how the sources from those times show us the musical value of the different possibilities of the old bow. Nevertheless, if the musical idea the violinist has in mind does not match the old bow\u2019s natural behavior and the indications made for its use, using it would not bring any advantage. After an overview of the evolution of the bow and its relation with the right hand technique, I will explore the possibility of combining a modern instrument with an old bow as well as the benefits of using it for playing, especially when used following the indications the sources of that period reveal.Biography: Born in Santiago de Compostela, she finished her bachelor\u2019s degree at the Escola Superior de M\u00fasica de Catalunya before moving to The Hague, where she studies with Vera Beths. Since her years in Barcelona, she has developed a special interest for early music performance practice, stimulated by her lessons with Alba Roca and Lorenzo Coppola, and with Walter Reiter in the Royal Conservatoire.<\/jats:p>\n keywords: bow, 18th century, baroque, bowing, violin<\/jats:p>","DOI":"10.22501\/koncon.299029","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:43:43Z","timestamp":1725907423000},"source":"Crossref","is-referenced-by-count":0,"title":["To bow, or not to bow"],"prefix":"10.22501","author":[{"family":"Alexandra Lopez Arca","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:46:42Z","timestamp":1784285202000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/299029\/299030"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.299029","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:46Z","timestamp":1784286526863,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,4]],"date-time":"2017-09-04T00:00:00Z","timestamp":1504483200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,4]]},"abstract":"AbstractHarmony on the violin \u2013 exploring ways to enhance harmonic awareness by improvisation. How can playing with basic elements of classical music help us to enter the music we perform \u2018from within\u2019, to enjoy the creative moment in connection with the repertoire we know so well and love so much, to \u2018co-compose\u2019\u2026 How can (tonal) improvisation be an aid to learn about harmony in a way that experience comes first, using, in this research, the violin as our voice? In this research my aim has been to create a toolbox of games\/exercises that can be used working in the above mentioned way. At the same time the exploratory journey of the research proved to be a transformative experience with regard to my own relationship with the music I play, love and teach. In this paper those two threads \u2013 the development of educational material and the testing out of it on the one hand and my personal development as a violinist and musician on the other hand - are constantly intertwined. The one cannot do without the other.This paper is a report of all activities that added to the above mentioned two processes. The report will guide you through the origins of the research, the rich input of colleagues, masters and books on the subject, a report of the practising, imagining, exploring hours spent by myself in my garden house, information on the enjoyable sessions when trying out the material with students. At the centre of the paper you will find the games and exercises themselves \u2013 the content of the toolbox, called \u2018Invitations\u2019. A closer look at certain aspects of the research is found in Chapter 5 \u2013 Behind the scene. The paper will finish with a set of recommendations and conclusions and \u2013 above all \u2013 future plans.I do hope you will enjoy this research \u2013 a research into methods that can be used to let the playing from musical intuition and the building of harmonic consciousness meet. In doing so, enjoying the richness, benefits and pleasure that musical improvisation has to offer in music education.<\/jats:p>\n keywords: harmony, violin, improvisation, figured bass, musicianship skills, creativity, musical and artistic development, instrumental training, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.235432","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:46:19Z","timestamp":1725907579000},"source":"Crossref","is-referenced-by-count":0,"title":["Harmony on the violin - internalising harmony for violinists and the role of (tonal) improvisation"],"prefix":"10.22501","author":[{"family":"Liesbeth Ackermans","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:51:17Z","timestamp":1784285477000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/235432\/235433"}},"issued":{"date-parts":[[2017,9,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.235432","published":{"date-parts":[[2017,9,4]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:06Z","timestamp":1784286246471,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2018,4,11]],"date-time":"2018-04-11T00:00:00Z","timestamp":1523404800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2018,4,11]]},"abstract":"Only the Envelope (OTE) combines several research methodologies to investigate the ways we share personal information in the public sphere. This exposition presents video and video stills as primary artefacts in a discussion about a live artwork that dramatises the act of looking. In a live art installation, a \u2018scientist\u2019 invited visitors to be involved in an \u2018experiment\u2019 \u2014\u00a0namely, viewing a film while wearing a wireless eye-tracking device. This surveillance technology generated data about viewing behaviour. However, of greater interest was investigating how engaging with OTE as creative arts research led to unanticipated findings. Also interesting were the new audiovisual documents created through a re-enactment of the visitor\u2019s experience, in which the eye-tracking device was redeployed as a head-mounted camera. In the artistic research context of OTE, the re-enacted videos led to new data being collected and analysed, leading to novel insights. These show that OTE\u2019s ironic performance of science, employing the coercive power of complex technologies, maintained rather than undermined the compliant behaviour of participants. At the same time, the artist\u2019s re-enactment of the visitor\u2019s experience makes it possible to imagine, represent, and discuss such an act of subversion by illuminating the complexity of viewing behaviour when considered within the politics of the gaze and representation. This complexity is a reflection both of the emergent nature of a process-driven creative arts research enquiry, and of the work\u2019s investigation of data retention.<\/jats:p>\n keywords: Data retention, surveillance, eye-tracking, the gaze, performance of science, re-enactment art<\/jats:p>","DOI":"10.22501\/jar.332658","type":"journal-article","created":{"date-parts":[[2018,4,10]],"date-time":"2018-04-10T18:00:14Z","timestamp":1523383214000},"source":"Crossref","is-referenced-by-count":0,"title":["Only the Envelope: artistic interpretations of eye-tracking imagery"],"prefix":"10.22501","author":[{"family":"Vahri McKenzie","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Neil K Ferguson","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:50Z","timestamp":1784283050000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/332658\/332659"}},"issued":{"date-parts":[[2018,4,11]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jar.332658","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2018,4,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967730,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Collected Works as Cognitive TraceBy Dorian ValeIn Collected Works as Cognitive Trace, Dorian Vale reframes the act of collecting not as possession, but as psychological imprint. Drawing from the principles of Post-Interpretive Criticism, this essay explores how personal archives\u2014particularly collections of art, objects, and texts\u2014can reveal unconscious maps of memory, loss, longing, and identity. Vale argues that every collected item leaves a residue of the self: a cognitive scar, a symbolic placeholder, or a momentary alignment between inner and outer worlds. These collections become autobiographies of the unspoken\u2014not narratives, but traces. What we keep is not always what we value most, but what we could not leave behind. This piece expands the Post-Interpretive lexicon by introducing the concept of cognitive residue and emotional indexing, urging readers to view their shelves and storage boxes not as aesthetic decisions, but as quiet cartographies of becoming. Vale, Dorian. Collected Works as Cognitive Trace. Museum of One, 2025. DOI: 10.5281\/zenodo.17070885This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)Dorian Vale, Post-Interpretive Criticism, art collecting, cognitive trace, personal archives, art as memory, symbolic possession, collection psychology, memory and art, autobiographical collecting, object curation, emotional indexing, art and identity, private archives, post-interpretive lexicon, collecting as residue, slow criticism, aesthetic psychology, witnessing through objects, non-interpretive art theory<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Presence, Art as Truth, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Interpretive Restraint, Witness over interpretation, Radical art restraint, Quiet philosophy of art, https:\/\/orcid.org\/0009-0004-7737-5094, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, Freud, Isabella Stewart Gardner, Gertrude Stein, Charles Saatchi, Peggy Guggenheim<\/jats:p>","DOI":"10.22501\/rc.3921649","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:10:11Z","timestamp":1759936211000},"source":"Crossref","is-referenced-by-count":0,"title":["Collected Works as Cognitive Trace"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:45Z","timestamp":1784282265000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921649\/3921648"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921649","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984516,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,15]],"date-time":"2026-01-15T00:00:00Z","timestamp":1768435200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abstract This study investigates the role of music and sound in shaping a sense of identity among second-generation immigrants in Finland, with a particular focus on Finnish Kosovar experiences. As Finland moves from a historically homogeneous society toward a more multicultural landscape, understanding how musical engagement influences identity formation becomes increasingly significant. Through autoethnographic reflection and artistic practice, this research explores how listening, performing, and creating music mediate the negotiation of cultural heritage, integration, and hybrid identities among individuals navigating multiple cultural worlds.Central to this exploration is the master concert Safe Ocean, which serves as both a personal and academic articulation of the study\u2019s core themes. The concert integrates multilingual expression, traditional Albanian and Turkish musical materials, and hybrid compositional methods that also incorporate Nordic musical elements such as modal melodies, open-voiced harmonies, and timbral aesthetics characteristic of the region\u2019s contemporary folk and art music practices. By combining solo, small-group, and full-ensemble arrangements, the project presents both intimate and collective expressions, engaging instruments and musical influences from Kosovar Albanian, Turkish, Nordic, and Middle Eastern traditions.Through the interweaving of autoethnographic insight, artistic creation, and scholarly inquiry, this study demonstrates how music evokes memory, supports emotional processing, and supports dialogue between multiple cultural worlds. Findings indicate that engagement with sound and musical practice contributes not only to personal identity formation but also to the creation of social belonging and spaces for intercultural dialogue. This research contributes to broader discussions on music, diaspora, and identity, offering insight into how artistic practices can mediate complex cultural experiences and support the integration of second-generation immigrants within multicultural societies.<\/jats:p>\n keywords: belonging, identity, multiculturalism, integration, immigration, second-generation immigrants, Finnish society, music-making, sound, Kosova, Multiculturalism, Cross-cultural music, third space<\/jats:p>","DOI":"10.22501\/rc.4080732","type":"posted-content","created":{"date-parts":[[2026,1,15]],"date-time":"2026-01-15T17:47:49Z","timestamp":1768499269000},"source":"Crossref","is-referenced-by-count":0,"title":["Safe Ocean: Artistic and Autoethnographic Explorations of Music and Sound as Vessels for Finnish Kosovar Second-Generation Identity"],"prefix":"10.22501","author":[{"family":"Merve Abdurrahmani","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:20Z","timestamp":1784282240000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4080732\/4080733"}},"issued":{"date-parts":[[2026,1,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4080732","published":{"date-parts":[[2026,1,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:55Z","timestamp":1784369095731,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T00:00:00Z","timestamp":1765238400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,12,9]]},"abstract":"This article explores the shifting temporality of John Cage\u2019s 4\u201933\u201d as it propogates through the digital landscape of YouTube. Originally conceived as a timed, almost site-specific performance of shared presence and ambient listening, 4\u201933\u201d can function surprisingly well online in an environment dedicated to speed, repetition, and distraction. Drawing on seven diverse video performances\u2014ranging from the historically grounded to the amateur and experimental\u2014I examine how silence and time are embodied, marked, framed, and performed in online space. These performances inhabit a paradox: they are situated within a system designed to fragment attention, yet they demand stillness and duration. In doing so, they unsettle the assumptions of immediacy that govern digital spectatorship.Rather than treat 4\u201933\u201d as a fixed score, I argue that each video becomes a site of temporal negotiation. The performers use silence as a gestural and visual act, creating tension between embodied time and platform time. They foreground listening not only as acoustic attention but as a durational stance\u2014an insistence on presence within an artwork that privileges absence. The result is a form of quiet resistance to algorithmic rhythm, the embracing of non-playing, a reclaiming of boredom.These online performances suggest that 4\u201933\u201d has not lost its edge. Instead, it has adapted, becoming a mirror for contemporary conditions of time, presence, and attention. Silence here is not absence, but an expanded field\u2014where listening, duration, and performance are reimagined in and against the temporal asynchronicities of the digital.(painting by Morna McGoldrick, 1964)<\/jats:p>\n keywords: silence, embodiment, markers, Silence perception, john cage, time, time based media, duration, YouTube, durational<\/jats:p>","DOI":"10.22501\/hub.3610706","type":"journal-article","created":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T15:39:26Z","timestamp":1765294766000},"source":"Crossref","is-referenced-by-count":0,"title":["Rephrasing Duration: Silence(s) in 4'33\""],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0005-5353-2929","authenticated-orcid":false,"family":"Guy Livingston","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:21:51Z","timestamp":1784366511000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3610706\/3610790"}},"issued":{"date-parts":[[2025,12,9]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/hub.3610706","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2025,12,9]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:22Z","timestamp":1784286502608,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,7,19]],"date-time":"2017-07-19T00:00:00Z","timestamp":1500422400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,7,19]]},"abstract":"Canon-1 is the first of a serie of five electro-acoustic works by Dick Raaymakers for which the concept 'morphology of sound' formed the principle starting point. Alongside the compositional activities, Raaymakers attempted to systematically describe a theoretical model that allowed him to get grip on the difficult matters relating composing with electronic means. This work fully occupied him from autumn of 1963 until spring of 1966. Not only led this work to a unique serie of compositions, it also laid the foundation for his later works covering the fields of composition, music-theater, installation art and writing. This important work was never well documented or contextualized from the perspective of electro-acoustic composition. Based on the original tapes, Raaymakers' schematics and interviews, this research aims to do that.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/koncon.351986","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:46:29Z","timestamp":1725907589000},"source":"Crossref","is-referenced-by-count":0,"title":["Of Rules and Canons \u2014 Raaijmakers' Reflection On Morphology"],"prefix":"10.22501","author":[{"family":"Johan van Kreij","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:51:32Z","timestamp":1784285492000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/351986\/351987"}},"issued":{"date-parts":[[2017,7,19]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.351986","published":{"date-parts":[[2017,7,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:53Z","timestamp":1784289953054,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","license":[{"start":{"date-parts":[[2020,3,23]],"date-time":"2020-03-23T00:00:00Z","timestamp":1584921600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,3,23]]},"abstract":"In this paper we build upon Gumbrecht\u2019s definition of violence as all acts and all forms of behavior that occupy or block spaces through bodies, against the resistance of other bodies, in order to explore the relationship between sound and violence. Examined within a broader context, it may reveal how conflict and disputes are \u2013 as much as acts of exchanging and bonding \u2013 engines of society.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.824264","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:59Z","timestamp":1733131559000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonic Politics: Sonority, Territoriality, and Violence in Urban Cultural Practices in Brazil"],"prefix":"10.22501","author":[{"family":"Pedro Silva Marra and Thaise Valentim Madeira","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:38:58Z","timestamp":1784288338000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/824264\/824265"}},"issued":{"date-parts":[[2020,3,23]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/jss.824264","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2020,3,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:14Z","timestamp":1784286494914,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Vasileios Filippou Main Subject: Composition Title of Research: Ottoman music as a source of inspiration for today\u2019s composers Subtitle:Applying aspects of Ottoman Classical music within current compositional practice Research Question:How can I, as a composer, understand the rich tradition of Ottoman Classical musicand as a result, inform my compositional work? Summary of Results:By outlining and critically evaluating my compositional process, this research paperaims to suggest methods of composing that are influenced by, and arise from a deepunderstanding of Ottoman Classical music.The purpose of this research is to show ways in which Ottoman Classical music canprovide compositional tools for today\u2019s composers (especially those with a EuropeanClassical background). The paper and the composition examples will illustratepossible ways in which Ottoman Classical music can be used.The important results of this research are presented in the form of compositions,accompanied by their analyses, where the ways I approached the research question aredemonstrated. A diagram has been devised, which can be used as a method of drawinginspiration from various musical elements whilst reflecting on them. The pointsdiscussed on the use of Ottoman Classical music in today\u2019s practice and the twoopposing views on this matter are key to these results as they have informed the study.This is a practice as research approach where composition, which is my artisticpractice, becomes both my subject and my tool of research. It is an area notextensively studied in the past and it is free of pre-defined methods and open to newinterpretations. This paper can be an introduction to composers who have not yetstudied or practiced this kind of music. Biography:Vasileios Filippou (b. Cyprus, 1991) is currently a master student at KoninklijkConservatorium Den Haag studying composition with Yannis Kyriakides and CalliopeTsoupaki. He holds a master degree with a scholarship fromTrinity Laban conservatoireand a bachelor degree from Royal Holloway, London. His music has been performed inThe United Kingdom, Netherlands, Greece, Spain and Cyprus, broadcasted from BBCRadio 3 (UK) and RIK Radio (CY) and also presented in Aldeburgh and Cheltenhammusic festivals. Latest major performances include a piece for Orkest de Ereprijs inAppeldoorn and a piece for Ives ensemble and Slagwerk Den Haag in Amsterdam.<\/jats:p>\n keywords: analysis, composition, Ottoman Classical Music<\/jats:p>","DOI":"10.22501\/koncon.215743","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:45:50Z","timestamp":1725907550000},"source":"Crossref","is-referenced-by-count":0,"title":["Ottoman music as a source of inspiration for today\u2019s composers"],"prefix":"10.22501","author":[{"family":"Vasileios Filippou","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:50:41Z","timestamp":1784285441000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/215743\/215921"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.215743","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:38Z","timestamp":1784286518316,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"T\u00e4ss\u00e4 ekspositiossa tarkastelen taiteellista projektia Sohva \u2013 keskusteluja utopioista osana taiteilijapedagogista tutkimusta, jossa esityksellinen toiminta julkisessa kaupunkitilassa toimii l\u00e4ht\u00f6kohtana utooppisen ajattelun ja yhteiskunnallisen muutoksen prosessien pohdinnalle. Sohva - keskusteluja utopioista toteutui nelj\u00e4ss\u00e4 eri paikassa eri puolilla Helsinki\u00e4 kev\u00e4\u00e4ll\u00e4 2024. Jokaisessa paikassa sohvalle istui kaksi vierasta, joiden kanssa puhuin utopioista. Ekspositio kytkeytyy taiteen sosiaalisen k\u00e4\u00e4nteen, utooppisen pedagogiikan ja taiteilijapedagogiikan viitekehyksiin. Pohdin esityst\u00e4 utooppisena praktiikkana, neuvotteluna kaupunkitilasta ja performatiivista pedagogiikkaa. Ehdotan, ett\u00e4 taiteellinen esitys voi toimia paitsi pedagogisena my\u00f6s yhteiskunnallisena ja kulttuurisena tapahtumana, jossa utopia ei ole p\u00e4\u00e4m\u00e4\u00e4r\u00e4 vaan prosessi.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.3065544","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:05:40Z","timestamp":1777449940000},"source":"Crossref","is-referenced-by-count":0,"title":["Neuvottelua tilasta - Esitys utooppisena prosessina kaupunkitilassa"],"prefix":"10.22501","author":[{"family":"Pilvi Porkola","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:00:57Z","timestamp":1784286057000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3065544\/3065545"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3065544","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:18Z","timestamp":1784286378692,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,5,23]],"date-time":"2024-05-23T00:00:00Z","timestamp":1716422400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,5,23]]},"abstract":"The following research observes the artistic creative process of a cross-disciplinary theatrical dance and percussion performance, called \u201cInseparable\u201d. It discusses and analyses the process and methods behind the creation of the piece; the pros and cons of dance-percussion collaboration, and of working as a team of performer-creators; the involvement of a director; the creation of the final performance with a technical crew (light & sound); and the emergence of a mutual artistic language.The cast includes Zaneta Kesik and Matija Franjes - two dancers (doubling as choreographers), and Joao Brito and Kalina Vladovska - two percussionists (doubling as composers), creating the narrative, dramaturgy, choreography and (some of the) music on their own. The director, Renee Spierings, was invited to be an external coach. Teus van der Stelt and Maurits Thiel - light and sound artists - took care of the final presentation. The four performances took place during and thanks to Muziekzomer Gelderland 2023 and were produced by Jarick Bruinsma.Furthermore, in the research I discuss the social impact of the project's themes \u2013 technology addiction and human communication - and I examine a number of reactions and feedback from audience members.The chosen form of presentation is a research exposition.<\/jats:p>\n keywords: dance, percussion, artistic process, Beyond Discipline, collaboration, contemporary, Audience participation, Contemporary art, contemporary music, contemporary dance, cross-disciplinary<\/jats:p>","DOI":"10.22501\/koncon.2386182","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:09Z","timestamp":1725906969000},"source":"Crossref","is-referenced-by-count":0,"title":["\"Inseparable\": Music and Dance in a Cross-Disciplinary Practice"],"prefix":"10.22501","author":[{"family":"Kalina Vladovska","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:28:09Z","timestamp":1784284089000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2386182\/2386183"}},"issued":{"date-parts":[[2024,5,23]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2386182","published":{"date-parts":[[2024,5,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:06Z","timestamp":1784289846335,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2016,10,3]],"date-time":"2016-10-03T00:00:00Z","timestamp":1475452800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,10,3]]},"abstract":"Onko instrumentaalisen muutosagendan toteuttaminen poliittisen ja yhteiskunnallisen taiteen ainoa mahdollinen muoto? Pohdin tekstiss\u00e4ni oman elokuvantekemiseni ja lajityyppini dokumentaarisen elokuvan reunaehtoja poliittisen ja poeettisen paradoksaalisessa kohtauspisteess\u00e4. Miten dokumentaariset esitykset voivat rikkoa lajin perinteest\u00e4 nousevia asetelmallisia teht\u00e4vi\u00e4? Millaisen haasteen lajille ominaiselle uhrimotiiville asettaa Jacques Ran\u00e7i\u00e8rin ajattelussa keski\u00f6ss\u00e4 oleva radikaali tasa-arvoisuuden periaate? Miten voi luoda osallisuuden esityksi\u00e4, joissa \u00e4\u00e4net eiv\u00e4t ole uhrien vaan oman el\u00e4m\u00e4ns\u00e4 t\u00e4ysvaltaisten toimijoiden?<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.264671","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:11Z","timestamp":1503635051000},"source":"Crossref","is-referenced-by-count":0,"title":["Osallisuus ja Poliittiset Eleet"],"prefix":"10.22501","author":[{"family":"Susanna Helke","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:18:52Z","timestamp":1784287132000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/264671\/264672"}},"issued":{"date-parts":[[2016,10,3]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/ruu.264671","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2016,10,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:55Z","timestamp":1784289835677,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T00:00:00Z","timestamp":1558569600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"This exposition is centred around a video essay, which uses some parts of Animal Years, a series of one-year performance-projects recorded on Harakka Island in the years 2002-2014, as examples to create a form of \"digital autotopography\". Returning to the site of the performance Year of the Rooster (2006) and Christmas of the Rooster - Tomten (2006) twelve years later serves as a starting point for reflections on the materiality of the site, on the birches growing there as co-performers, and on revisiting and assembling old works as way of doing things with performance.<\/jats:p>\n keywords: performance, site, place, landscape, revisit, performance for camera, performing landscape, repetition, trees, autotopography, return, sympoiesis, digital autotopography<\/jats:p>","DOI":"10.22501\/ruu.470471","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T07:35:16Z","timestamp":1558596916000},"source":"Crossref","is-referenced-by-count":0,"title":["Return to the Site of the Year of the Rooster"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:15:12Z","timestamp":1784286912000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/470471\/470472"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.470471","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:46Z","timestamp":1784289946902,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","license":[{"start":{"date-parts":[[2020,9,3]],"date-time":"2020-09-03T00:00:00Z","timestamp":1599091200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,9,3]]},"abstract":"Due to the COVID-19 pandemic, many people must remain indoors for a very long period of time. To mitigate the deleterious effects of a quarantine, several recommendations are proposed here to improve the soundscape for those under lockdown. Some voluntary and non-voluntary suggestions are offered to reduce low frequency noise transmission in adjacent apartment units. In addition, it is argued that reverberation and binaural rendering would provide a needed change of soundscape for those stuck indoors. Even these small measures may help make a long quarantine more tolerable so that more people stay inside until the crisis is over.<\/jats:p>\n keywords: COVID-19, Soundscape, Low Frequency Noise, Spatial Audio<\/jats:p>","DOI":"10.22501\/jss.978530","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:13Z","timestamp":1733131573000},"source":"Crossref","is-referenced-by-count":0,"title":["The Soundscape of Quarantine: The Role of Sound During a Public Health Crisis"],"prefix":"10.22501","author":[{"family":"Braxton Boren","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:37:48Z","timestamp":1784288268000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/978530\/978531"}},"issued":{"date-parts":[[2020,9,3]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jss.978530","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2020,9,3]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:47Z","timestamp":1784369087151,"version":"3.55.0"},"posted":{"date-parts":[[2021,7,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,7,23]],"date-time":"2021-07-23T00:00:00Z","timestamp":1626998400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A three-minute video, including title and credits, concerns a second re-working, in effect layer three, of a drawing that references incidental observation of the inside of a glass jar and additional materiality, such as an action camera worn in front of the eyes and how the jar is attached to the drawing\u2019s surface to enable the process\u2019s video recording. The audio concerns the counting of seconds while drawing and the prolonged intonation of the word RAUM, German for space. Each of these vocal elements directs and impacts on the drawing procedures, the latter of which are implemented with pencils designed for marking on non-porous surfaces such as plastic and glass, and erasure of such pencils on laminated white cardboard. The video fades in and out of the drawing at each of its three stages, two of which were from times prior to making the video, the last of the stages of which was up to the time of beginning the video. The video is also interspersed with scrolling typed indication of the various correspondences between the counting of time and phrases of spoken monologue, the latter of which has been divided into two audio layers through having been recorded onto both the camera\u2019s microphone and an external voice recorder. At 1: 47mins of the video the content fades to a muted simple scroll-through animation of the completed drawing of the previous video content played back a number of times, which had been responded to through the layering of the drawing the same number of times across nine pieces of handmade paper, 51 x 36cm, in plastic-based pencils and acrylic paint. The video encapsulates the above-mentioned individual facets as a single entity that provides some comment on the diverse nature of time in the context of its experience in and as drawing.Keywords: drawing; time; monologue; language; intonation<\/jats:p>\n keywords: drawing, time, monologue, language, intonation<\/jats:p>","DOI":"10.22501\/i2ads.1305336","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:09:20Z","timestamp":1727179760000},"source":"Crossref","is-referenced-by-count":0,"title":["\u2018[\u2026] Biology of One Body\u2019s work\u2019: A video collage of seconds counted while drawing + 2-minutes\u2019 playback layered a number of times"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:38Z","timestamp":1784366438000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1305336\/1305337"}},"issued":{"date-parts":[[2021,7,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.1305336","published":{"date-parts":[[2021,7,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:30Z","timestamp":1784282970523,"version":"3.55.0"},"posted":{"date-parts":[[2026,4,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,11]],"date-time":"2026-04-11T00:00:00Z","timestamp":1775865600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Rigid definitions of displacement in the mainstream are not effective in accompanying the current meanings of the human experience. In response to this, through cooperation with personal reflections and theoretical methodologies, this paper attempts to explore the radically embedded bodily and mental experiences of displacement and their spatial intersections. Motivated by personal experiences, I advocate for a significant paradigm shift in our treatment of displaced narratives and the individuals inhabiting them. This shift involves exploring the mind as an active agent, and the body as a vessel. Here I propose multi-dimensionalizing open-mindedness. Then, I argue that these components are interconnected within the context of individual and collective narratives. All these notions are brought together by cultural criticism and artistic expression in pursuance of breaking down the different embodiments of displacement as an alternative approach to knowledge production. By reorganizing the relationality of these views, while fostering new forms of individual and collective agencies through interactive reflection between objectivity and subjectivity, I conclude this paper with an expectation to open up a dialogue about the need to adopt alternative and interdisciplinary perspectives for diversifying our views on displacement.<\/jats:p>\n keywords: Displacement, displaced persons, open-mindedness, open-minded, embodiment, spatial, individual, individual memory, collective, collective memroy<\/jats:p>","DOI":"10.22501\/rc.3948027","type":"posted-content","created":{"date-parts":[[2026,4,11]],"date-time":"2026-04-11T20:12:12Z","timestamp":1775938332000},"source":"Crossref","is-referenced-by-count":0,"title":["Between Embodiments: Diversifying Views on Displacement through Open-Mindedness"],"prefix":"10.22501","author":[{"family":"\u00e7ifel \u00e7ifel","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:49Z","timestamp":1784282209000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3948027\/3948028"}},"issued":{"date-parts":[[2026,4,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3948027","published":{"date-parts":[[2026,4,11]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:53Z","timestamp":1784286413195,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,7,12]],"date-time":"2022-07-12T00:00:00Z","timestamp":1657584000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,12]]},"abstract":"Thomas Jefferson\u2019s Monticello plantation is here used as a case-study examiningclassical music\u2019s foundations in the United States. Among other titles, Jefferson was a statesman, diplomat, slave master, and avid violinist. He is remembered as the principal author of the Declaration of Independence and third U.S. President. Early documentation suggests he was a gifted musician, reading notation at age nine and practicing \u201cno less than three hours a day\u201d for \u201ca dozen years\u201d. Music played an important role in the courtship of his wife, Martha Skelton Wayles, a harpsichordist and singer. They parented six children, of which two daughters survived to adulthood. Both received substantial keyboard training and their eldest inherited her father\u2019s \u201ctaste and talent for music\u201d. Upon their mother's death in 1782, Thomas began a complicated relationship with his late wife\u2019s enslaved half sister, Sally Hemings. She became pregnant at sixteen and bore six of Jefferson\u2019s children, four of which survived to adulthood. While Jefferson\u2019s white daughters learned keyboard, two of his enslaved black sons were taught violin. It is likely that Jefferson himself taught them using the treatises of his expansive musical library, notably Geminani\u2019s \u201cArt of Playing the Violin\u201d. A year after Jefferson\u2019s death, the two sons were given their freedom; the youngest\u2019s profession is listed as \u201cmusician\u201d in the 1850 census; he is remembered as an \u201caccomplished caller of dances\u201d. These sons span the full stylistic gamut available in 19th century American music: from fiddle to violin. Thomas Jefferson and his family represent the kernels of America\u2019s musical traditions, and the way they have morphed in parallel with America itself. The musical ecosystem of Monticello plantation is a dynamic location to discuss colonial music\u2019s intersections with class, race, gender, and national identity.<\/jats:p>\n keywords: Thomas Jefferson, U.S. History, colonialism, music history<\/jats:p>","DOI":"10.22501\/rc.1551508","type":"journal-article","created":{"date-parts":[[2022,2,21]],"date-time":"2022-02-21T20:03:50Z","timestamp":1645473830000},"source":"Crossref","is-referenced-by-count":0,"title":["Musical Monticello: Classical Music and America"],"prefix":"10.22501","author":[{"family":"Jasper Snow","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:34:34Z","timestamp":1784284474000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1551508\/1551509"}},"issued":{"date-parts":[[2022,7,12]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/rc.1551508","published":{"date-parts":[[2022,7,12]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:35Z","timestamp":1784290115808,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2016,7,10]],"date-time":"2016-07-10T00:00:00Z","timestamp":1468108800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,10]]},"abstract":"The project is about the process of auditory memories related to initial impressions.It is also an experiment of how we are experiencing different soundscapes of different cultures.Which words can describe sounds, which we are not used to?Can we listen to the past? Which memories are still in mind?Collecting different material (recordings, diary, photos) allowed me to create a multimedia homepage.<\/jats:p>\n keywords: soundscape, memory, travel<\/jats:p>","DOI":"10.22501\/jss.264268","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:01Z","timestamp":1733131621000},"source":"Crossref","is-referenced-by-count":0,"title":["SOUNDMEMORIES OF ASIA"],"prefix":"10.22501","author":[{"family":"Max Haberl","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:49:45Z","timestamp":1784288985000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/264268\/264269"}},"issued":{"date-parts":[[2016,7,10]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.264268","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2016,7,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030990,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T00:00:00Z","timestamp":1717200000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is a documentation and dissection of the work Pleased to Meet You, a performative encounter with the more-than-human. The work has been presented in two editions, at Lokal\/RDF, Reykjav\u00edk, Iceland, November 2022, and at IAC, Malm\u00f6,Sweden, March 2023. The exposition examines the relations specific elements of the work and connects it to the artistic PhD research \"How Little is Enough?\" Sustainable Methods of Performance for Transformative Encounters in Malm\u00f6 Theatre Academy at Lund University.<\/jats:p>\n keywords: Sustainable performance, porous dramaturgy, existential sustainability, artistic research, performative encounters, site-specificity, human specificity, relation specific performance<\/jats:p>","DOI":"10.22501\/rc.2162264","type":"posted-content","created":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T09:40:45Z","timestamp":1717234845000},"source":"Crossref","is-referenced-by-count":0,"title":["Pleased to Meet you"],"prefix":"10.22501","author":[{"family":"Steinunn Kn\u00fats \u00d6nnud\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:45Z","timestamp":1784282325000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2162264\/2162265"}},"issued":{"date-parts":[[2024,6,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2162264","published":{"date-parts":[[2024,6,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:19Z","timestamp":1784283019576,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T00:00:00Z","timestamp":1741219200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article concerns \u201cabsolute void\u201d as an impossible notion to describe via a reductionist approach, whose irreducible relativity emerges from efforts to imagine it \u2013 from the CERN laboratories to the artworks at MoMA. Science teaches correlations among things, not things themselves. For this, with photography and artworks, the article reflects in detail on objectivity, multivariate universes, minding the time that brings exclusive universes into the same framework, conceiving an infinite intelligence, an artificial consciousness to see things in that time.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3499981","type":"posted-content","created":{"date-parts":[[2025,3,6]],"date-time":"2025-03-06T12:41:20Z","timestamp":1741264880000},"source":"Crossref","is-referenced-by-count":0,"title":["Portico in the Park"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:18Z","timestamp":1784282298000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3499981\/3499980"}},"issued":{"date-parts":[[2025,3,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3499981","published":{"date-parts":[[2025,3,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:04Z","timestamp":1784369104299,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2024,6,7]],"date-time":"2024-06-07T00:00:00Z","timestamp":1717718400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,6,7]]},"abstract":"For its Issue #2, HUB continues to develop work along the lines of artistic research, focusing its attention on multiple creative practices and the transversality of the processes explored. Marking one year since the launch of Issue 0, HUB is committed to the Research Catalogue platform and ways of exploring and viewing multimedia material that can do justice to the dynamics between content and reading and browsing modes.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/hub.2853967","type":"journal-article","created":{"date-parts":[[2024,6,7]],"date-time":"2024-06-07T07:45:35Z","timestamp":1717746335000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial"],"prefix":"10.22501","author":[{"family":"Fabr\u00edcio Fava","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Orlando Vieira Francisco","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Filipa Cruz","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Maria Manuela Bronze da Rocha","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:23:37Z","timestamp":1784366617000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2853967\/2853968"}},"issued":{"date-parts":[[2024,6,7]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/hub.2853967","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2024,6,7]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:45Z","timestamp":1784369085436,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T00:00:00Z","timestamp":1747267200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ntnu"],"published-print":{"date-parts":[[2025,5,15]]},"abstract":"By experimenting with the use of artificial intelligence and collaborative storytelling in public engagement with sustainability challenges, the Futuring Together group, through an interactive installation \"Playing Future Narratives\" at Artistic Research Week 2024 (22nd - 27th October 2024) at the Norwegian University of Science and Technology, explored how AI-enhanced collaborative narrative creation augmented with a visual essay could facilitate understanding of energy transition futures in Trondheim, Norway. The installation utilized ScenSyn, a multiplayer interactive storytelling system combining AI-assisted narrative generation with human creativity, together with a visual essay highlighting the complexities and contradictions inherent in the energy transition.The project provided an opportunity to test how AI-enhanced collaborative storytelling might offer unique opportunities for exploring complex societal transitions and raised important questions about the role of artificial intelligence in creative processes and public discourse.<\/jats:p>\n keywords: Artificial Intelligence, Collaborative Storytelling, Interactive Narratives, Human-AI Collaboration, Energy Transition, Sustainability, Design Fiction, Futuring, arw, artistic research week, ntnu, ad, KiT<\/jats:p>","DOI":"10.22501\/ntnu.3247260","type":"journal-article","created":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T08:09:45Z","timestamp":1747296585000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing Future Narratives"],"prefix":"10.22501","author":[{"family":"Futuring Together","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Margarita Torrijos Krag","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Kristian Byskov Rasmussen","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ysabel Munoz","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Norwegian University of Science and Technology"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:18Z","timestamp":1784366418000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3247260\/3247261\/512\/0"}},"issued":{"date-parts":[[2025,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ntnu.3247260","published":{"date-parts":[[2025,5,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:09Z","timestamp":1784286309797,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,22]],"date-time":"2025-05-22T00:00:00Z","timestamp":1747872000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,22]]},"abstract":"Two of the oldest manuscripts containing trumpet music lie in the Royal Danish Library and were both written in Denmark around the year 1600. They contain hundreds of fanfare-like melodies with little explanation as to how, why, or where they should be played. Written by trumpeters with limited musical education, the manuscripts present a unique challenge in deciphering distinct and personal notation styles. The aim of this research is to shed a new light on the so-called Thomsen and L\u00fcbeck manuscripts by stepping into the shoes of the trumpeters of the late renaissance and early baroque. The court of Christian IV (1577-1648), King of Denmark and Norway, was one of the most influential courts of early 17th century Europe and employed a respectable number of at least 123 trumpeters throughout Christian\u2019s 60 year reign. By examining the role and duty of those trumpeters, as well as the culture around trumpet playing in the 16th and 17th centuries we gain a new insight into the festive, vigorous, and loud music of the royal courts. Improvisation plays a big part in interpreting the Danish manuscripts. By applying improvisation techniques described by Italian and German trumpeters in the 17th century, as well as considering the capabilities and limitations of historical instruments, new life is brought to fanfares which might appear monotonous and repetitive at first glance.<\/jats:p>\n keywords: Trumpet, Denmark, 17th century, improvisation, 16thcentury, baroque trumpet, natural trumpet<\/jats:p>","DOI":"10.22501\/koncon.3197849","type":"journal-article","created":{"date-parts":[[2025,5,22]],"date-time":"2025-05-22T05:51:11Z","timestamp":1747893071000},"source":"Crossref","is-referenced-by-count":0,"title":["Trumpeting at the Court of Christian IV"],"prefix":"10.22501","author":[{"family":"\u00d3lafur Elli\u00f0i Halld\u00f3rsson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:24:42Z","timestamp":1784283882000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3197849\/3197850"}},"issued":{"date-parts":[[2025,5,22]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3197849","published":{"date-parts":[[2025,5,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996789,"version":"3.55.0"},"posted":{"date-parts":[[2023,9,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,9,18]],"date-time":"2023-09-18T00:00:00Z","timestamp":1694995200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This project explores the potential futures of wool. Despite being a significant craft material, wool has become a byproduct of sheep and lamb industry in most areas. In many places, fleece and wool use is in decline. Consistent with the global trend, wool production has also declined in the US since the 1940s . When wool is used in textile industries, merino wool from Australia and New Zealand often dominates the scene, thus contributing to the decline in local wool. As a result, large amounts of wool, a material with great qualities, becomes unwanted product and is discarded as a waste. A project about and with wool can bring new possibilities for the future of wool for producers and craftspeople. In this project, I will research wool's current situation around Asheville by visiting some farms and discussing with craftspeople. This research will draw on the current situation and start contextualizing how wool might be studied.<\/jats:p>\n keywords: wool, design, materiality<\/jats:p>","DOI":"10.22501\/rc.2197668","type":"posted-content","created":{"date-parts":[[2023,9,18]],"date-time":"2023-09-18T08:57:46Z","timestamp":1695027466000},"source":"Crossref","is-referenced-by-count":0,"title":["In Search of Wool(s)"],"prefix":"10.22501","author":[{"family":"Bilge Merve Akta\u015f","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:16Z","timestamp":1784282356000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2197668\/2197669"}},"issued":{"date-parts":[[2023,9,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2197668","published":{"date-parts":[[2023,9,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:00Z","timestamp":1784283000300,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T00:00:00Z","timestamp":1608249600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u2018The Kipper and the Corpse\u2019 (TK&C) borrows its title from an episode (March 1979) of the sit-com Fawlty Towers. Whipps\u2019s TK&C research draws attention to both the social changes wrought by Thatcherism and prevailing media attitudes of the time. 1979 was pivotal for UK manufacturing as the then conservative government sought to undermine labour unions. Against this historical backdrop, the project raises questions about how the living memory of the pre-neoliberal world can be accessed and re-engaged with to bring about a collaborative understanding of present-day discourses around the politics and economics of labour. TK&C also offers a novel approach for paticipative creative activity, inverting the more normal artist-led working method. TK&C is a unique community-based art project that included the restoration of a 1275GT Mini made in Longbridge in 1979. Through the process of restoring the car, Whipps worked with several Longbridge ex-employees with car production and engineering expertise, social historians, sociologists, and anthropologists. These participants brought specialist knowledge and vocational skills to bear, positioning the artist\/researcher, Whipps, as the novice. This reversal of roles destabilised the standard researcher - participant relationship allowing for the emergence of more participative forms of knowledge production and transfer. This form of collaboration encouraged multiple audiences, from beyond the art world, to engage with the underlying context used by the project.The practical outcomes of TK&C were augmented by information gathered from records at Warwick University, British Motor Museum archives, oral histories, media representations of British Leyland (sitcoms, political cartoons, tabloid newspapers) and photographic documentation. The project has been supported by Longbridge Public Art Project (LPAP) and featured in contemporary art exhibitions, including touring venues such as the British Art Show 8 (2015-2017), the IKON Gallery (2019), and internationally at Fabra i Coats: Contemporary Art Centre of Barcelona (2020).<\/jats:p>\n keywords: Art and design 2021<\/jats:p>","DOI":"10.22501\/rc.936714","type":"posted-content","created":{"date-parts":[[2021,2,19]],"date-time":"2021-02-19T09:16:24Z","timestamp":1613726184000},"source":"Crossref","is-referenced-by-count":0,"title":["Kipper and the corpse"],"prefix":"10.22501","author":[{"family":"Stuart Whipps","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:27Z","timestamp":1784282427000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/936714\/936715"}},"issued":{"date-parts":[[2020,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.936714","published":{"date-parts":[[2020,12,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950954,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,5]],"date-time":"2025-03-05T00:00:00Z","timestamp":1741132800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cet article interpr\u00e8te l'adh\u00e9sion au pass\u00e9 qui le con\u00e7oit comme l'id\u00e9al et la v\u00e9ritable mani\u00e8re de faire progresser, en gardant les yeux ferm\u00e9s sur le fait que l\u2019\u00e9volution culturelle peut rendre ce qui \u00e9tait \"sage\" m\u00eame inappropri\u00e9 ou nuisible. Les \u00e9tudes de cas pr\u00e9sentent donc une dimension globale de l\u2019\u00e9poque autoritaire en Turquie, allant jusqu\u2019aux id\u00e9ologies cach\u00e9es derri\u00e8re le voile des sciences. L\u2019id\u00e9ologie autoritaire en Turquie est une question de droit et d\u2019exception. Le fil qui relie aujourd\u2019hui la Turquie et le monde moderne est l\u2019id\u00e9ologie capitaliste. Les habitants d\u2019un m\u00eame \u201cvillage global\u201d se r\u00e9veillent et partent de chez eux vers des chemins diff\u00e9rents o\u00f9 ils peuvent se retrouver avec des id\u00e9ologies de n\u00e9gation, remplac\u00e9es par des sciences confidentielles dans un monde qui croit en l\u2019ouverture et la d\u00e9mocratie, qui est toujours au c\u0153ur des pratiques scientifiques.<\/jats:p>\n keywords: autoritarisme, d\u00e9ni, tyrannie, terror<\/jats:p>","DOI":"10.22501\/rc.3496674","type":"posted-content","created":{"date-parts":[[2025,3,5]],"date-time":"2025-03-05T13:10:57Z","timestamp":1741180257000},"source":"Crossref","is-referenced-by-count":0,"title":["Critique au Temps Autoritaire"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:18Z","timestamp":1784282298000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3496674\/3496673"}},"issued":{"date-parts":[[2025,3,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3496674","published":{"date-parts":[[2025,3,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:22Z","timestamp":1784283022064,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","license":[{"start":{"date-parts":[[2024,11,5]],"date-time":"2024-11-05T00:00:00Z","timestamp":1730764800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,5]]},"abstract":"This artistic research exposition unfolds the shared work between Australian composer Liza Lim and Swedish violinist Karin Hellqvist, from the viewpoint of Hellqvist as performer and co-creator. Together, the artists have created the violin solo work One and the Other (Speculative Polskas for Karin) (2021\u201322). The Swedish folk music tradition that Hellqvist has carried with her since her childhood, and especially the polska dance, serves as their point of departure. This tradition resides in Hellqvist\u2019s body and performance practice as embodied knowledge \u2013 a term introduced by Maurice Merleau-Ponty (1962), and it becomes their main path of research. A central concept in the reflections is the \u2018artistic palette\u2019 \u2013 a concept created by Hellqvist to conceptualise the skills and abilities used in creative work. Hellqvist\u2019s embodied knowledge connected to the tradition is woven into the work through explorations of elements as the specific pulse of the polska and its ornamentation. Furthermore, those embodied skills are explored as decoupled in the third movement, capturing indeterminate aspects. The main question addressed is how the embodied knowledge of Hellqvist\u2019s artistic palette serves as resource and inspiration in the shared process and how it affects the ontology of One and the Other (Speculative Polskas for Karin).Topics of distributed creativity, shared work as mycelial structure, instrument-building, ownership, and temporal ecology are being unpacked in the light of the artistic palette. The artistic research exposition unfolds a compositional process whereby the performer is participating actively, thus problematising the view of where creativity may be located in compositional work. It comprises written reflections, audio examples, pictures, and video material from the creative process as well as a video of the whole work. The research context comprises historical and aesthetic perspectives, as well as recent research on performer creativity and embodiment.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&file=2959705\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: embodied knowledge, artistic palette, collaborative composition, performance practice, contemporary music, distributed creativity, ecology, mycelia, ornamentation<\/jats:p>","DOI":"10.22501\/jar.1865089","type":"journal-article","created":{"date-parts":[[2024,8,7]],"date-time":"2024-08-07T08:06:39Z","timestamp":1723017999000},"source":"Crossref","is-referenced-by-count":0,"title":["At the Knot of Presence: Weaving with the embodied knowledge of my artistic palette in Liza Lim's One and the Other (Speculative Polskas for Karin)"],"prefix":"10.22501","author":[{"family":"Karin Emilia Hellqvist","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:05Z","timestamp":1784282345000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1865089\/2949362"}},"issued":{"date-parts":[[2024,11,5]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1865089","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2024,11,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996813,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,16]],"date-time":"2023-06-16T00:00:00Z","timestamp":1686873600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This master thesis is a documentation of a journey towards self-discovery and artistic development which took place during my two years as a NoCom (Nordic Master for the Composing Musician) student at the Academy of Music and Drama in Gothenburg, Sweden. In the Research Catalogue pages I have gathered ideas, reflections, analysis, experiments, scores and audio\/video material that, I feel, surmise the work I have done during my studies. However, beyond the tangible elements offered, I believe this content tells the story of my process towards coming into my own practice. With the goal of using the creative and performative tools at my disposal (that stem from my background as a classical musician with a passion for rock\/metal music and live electronics) in order to facilitate storytelling through my compositions and a better communication with the audience, I present to you my journal as I go through this process, told in the frame of a fairy tale.<\/jats:p>\n keywords: flute, traditional Romanian singing, electronics, prepared piano, storytelling, fairy tales, narrative music, communication<\/jats:p>","DOI":"10.22501\/rc.1965270","type":"posted-content","created":{"date-parts":[[2023,6,16]],"date-time":"2023-06-16T08:16:42Z","timestamp":1686903402000},"source":"Crossref","is-referenced-by-count":1,"title":["Storytelling in improvisation-based composition: a classical flute player's experience with experimental music"],"prefix":"10.22501","author":[{"family":"Catalina Popa-M\u00f6rck","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:26Z","timestamp":1784282366000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1965270\/1965271"}},"issued":{"date-parts":[[2023,6,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1965270","published":{"date-parts":[[2023,6,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:07Z","timestamp":1784283007009,"version":"3.55.0"},"posted":{"date-parts":[[2018,2,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2018,2,4]],"date-time":"2018-02-04T00:00:00Z","timestamp":1517702400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A philosophical essay.<\/jats:p>\n keywords: atopia, globalism, metaphor, phenomenology, psychoanalysis, sense perception, science, urbanism<\/jats:p>","DOI":"10.22501\/rc.85567","type":"posted-content","created":{"date-parts":[[2018,2,4]],"date-time":"2018-02-04T13:36:16Z","timestamp":1517751376000},"source":"Crossref","is-referenced-by-count":0,"title":["Novel"],"prefix":"10.22501","author":[{"family":"Zoe Panagiota (aka Betty) Nigianni","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:52Z","timestamp":1784282452000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/85567\/85568"}},"issued":{"date-parts":[[2018,2,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.85567","published":{"date-parts":[[2018,2,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:09Z","timestamp":1784368989107,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"The photographic image has always historizised; an artifact of the past, photographic moment. But just as it is conditioned by the temporal and material context of its making, its essence \u2013 if there is one \u2013 is conditioned by how we encounter the image. This encounter involves both the situation in which the image is seen and our individual selves in relation to it \u2013 our histories, beliefs, and expectations. To further reflect on this unstable, temporal quality of the photograph, we explore the meaning of looking at the future by looking at photographs. Artistically and philosophically a contradiction in terms, it is still a practice we experience: How to look ahead with something temporally bound to the past. To do this, we reflect on \u2018Regarding the Pain of the Future\u2019 by the first author and develop and discuss an artistic practice emphasising a second, photographic moment.<\/jats:p>\n keywords: Photography, Photographies, Temporality, Deconstruction, Future, Polarization, Fear, Resilience, Photographies, Temporality, Deconstruction, Future, Polarization, Fear, Resilience<\/jats:p>","DOI":"10.22501\/vis.2834579","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T17:35:33Z","timestamp":1742232933000},"source":"Crossref","is-referenced-by-count":0,"title":["Photography, Temporality, and Thinking about the Future"],"prefix":"10.22501","author":[{"family":"Jon Hovland Honerud","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Hilde Hovland Honerud","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:07:49Z","timestamp":1784365669000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2834579\/3336855"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2834579","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:02Z","timestamp":1784283062511,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","license":[{"start":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T00:00:00Z","timestamp":1672272000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,12,29]]},"abstract":"This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.<\/jats:p>\n keywords: traditional music, folk music, improvisation, graphic notation, artistic research, music, cross-genre music creation, practice, process, Tacit Knowledge<\/jats:p>","DOI":"10.22501\/jar.810342","type":"journal-article","created":{"date-parts":[[2022,12,29]],"date-time":"2022-12-29T06:27:55Z","timestamp":1672295275000},"source":"Crossref","is-referenced-by-count":0,"title":["Structures for Freedom: In-performance communication in Traditional musicians in Scotland"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-9875-3630","authenticated-orcid":false,"family":"Lori Watson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:02:31Z","timestamp":1784282551000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/810342\/1855076"}},"issued":{"date-parts":[[2022,12,29]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jar.810342","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2022,12,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:57Z","timestamp":1784289897569,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"28","license":[{"start":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T00:00:00Z","timestamp":1752451200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,7,14]]},"abstract":"Andy Birtwistle\u2019s introduction to this special issue addresses the question \"what is sonic materiality?\" by examining how both \"new\" and \"old\" materialisms offer productive frameworks for conceptualizing sound's material dimensions. Drawing on work by Cox, Voegelin, and Cobussen, alongside critiques from Goh, Thompson, and Campbell, the article proposes understanding sound's materiality through texture, temporal flow, and spatiality. By engaging with Structural\/Materialist film theory and creative sonic practices, Birtwistle discusses how materiality intersects with aesthetics, agency, and ethics in sound. The introduction argues that exploring sonic materiality opens new avenues for understanding sound across environmental soundscapes, artistic practices, and cultural contexts.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.3772240","type":"journal-article","created":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T16:18:50Z","timestamp":1752509930000},"source":"Crossref","is-referenced-by-count":0,"title":["Introduction"],"prefix":"10.22501","author":[{"family":"Andy Birtwistle","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:29:14Z","timestamp":1784287754000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3772240\/3772241"}},"issued":{"date-parts":[[2025,7,14]]},"references-count":0,"journal-issue":{"issue":"28"},"URL":"https:\/\/doi.org\/10.22501\/jss.3772240","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2025,7,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:29Z","timestamp":1784282969132,"version":"3.55.0"},"posted":{"date-parts":[[2026,5,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,30]],"date-time":"2026-05-30T00:00:00Z","timestamp":1780099200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Trazzera Magica dei Colori (Phenomenological technique created by Giuseppe Rametta Giusirames).Technique NameTrazzera Magica dei ColoriPhenomenological painting technique based on reactive hydrostratification, glue skins, liquid watercolors, and surface tension on non-absorbent supports.<\/jats:p>\n keywords: art, artwork, artistic research, Contemporary art, Giusirames<\/jats:p>","DOI":"10.22501\/rc.4504513","type":"posted-content","created":{"date-parts":[[2026,5,30]],"date-time":"2026-05-30T11:59:16Z","timestamp":1780142356000},"source":"Crossref","is-referenced-by-count":0,"title":["OFFICIAL TECHNIQUE"],"prefix":"10.22501","author":[{"family":"Giusirames","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:38Z","timestamp":1784282198000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4504513\/4504512"}},"issued":{"date-parts":[[2026,5,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4504513","published":{"date-parts":[[2026,5,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995526,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The pandemic and the microscopic virus has bought in immense fear of the unknown, of getting infected through touch and air leading to extreme phobias emerging amongst individuals and collectives that are shaping spatiality.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1273367","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T01:44:05Z","timestamp":1622684645000},"source":"Crossref","is-referenced-by-count":0,"title":["FEAR- PHOBIA- TOUCH- SPATIALITY- HABITS"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:11Z","timestamp":1784282411000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1273367\/1273368"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1273367","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:57Z","timestamp":1784282997868,"version":"3.55.0"},"posted":{"date-parts":[[2026,7,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,7,7]],"date-time":"2026-07-07T00:00:00Z","timestamp":1783382400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article examines the work of Emirati artist Hassan Sharif, focusing on his handmade accumulations known as Objects. Set against the backdrop of the rapid modernization and industrial spectacle of the United Arab Emirates in the 1980s, Sharif\u2019s practice is analyzed as a profound exercise in \"ethical repetition\" and civic asceticism. By meticulously folding, binding, and assembling discarded everyday materials\u2014such as rope, wire, newspaper, and cardboard\u2014Sharif cultivated a \"theology of the banal\" that both mirrors and inverts the hierarchies of Western conceptual minimalism.The paper argues that Sharif's deliberate manual exhaustion serves as a critique of hyper-consumption and an act of solidarity with the invisible physical labor that built the modern Gulf. Furthermore, the inherent fragility and inevitable decay of his perishable works are explored as deliberate challenges to museum conservation and the commodification of the global art market. Ultimately, the article posits that Sharif\u2019s continuous, \"skill-less\" repetition transcends mere aesthetic endeavor to become a moral act of resistance, transforming mundane drudgery into a lasting meditation on presence, humanity, and conscience.Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen.Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, The Journal of Post-Interpretive criticism, The Journal of Post-Interpretive criticism ISSN 2819-7232), The Journal of Post-Interpretive Criticism (Q136530009), Epoch\u00e9 Fidelity Index (EFI) (Q138018710), Phenomenological Phase Alignment Score (PPAS) (Q138018807), Residue Engagement Restraint Ratio (RERR) (Q138018901), Quasi-Subject Agency Recognition Index (QSARI) (Q138018929), Dialectical Circulation Index (DCI) (Q138018950)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Viewer as Evidence Theory, Aesthetic Recursion, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Epoch\u00e9 Fidelity Index (EFI), Phenomenological Phase Alignment Score (PPAS), Residue Engagement Restraint Ratio (RERR), Quasi-Subject Agency Recognition Index (QSARI), Dialectical Circulation Index (DCI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Comparative Aesthetics, Contemporary Aesthetics, Phenomenology and Art, Phenomenology, Aesthetic Phenomenology, Phenomenology of Aesthetic, post-hermeneutics phenomenology, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, Interpretation vs. Witnessing, The Viewer as Evidence, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Contemporary sacred aesthetics, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4744019","type":"posted-content","created":{"date-parts":[[2026,7,7]],"date-time":"2026-07-07T14:03:59Z","timestamp":1783433039000},"source":"Crossref","is-referenced-by-count":0,"title":["Hassan Sharif's Objects: The Ascetic of the Everyday"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:29Z","timestamp":1784282189000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4744019\/4744018"}},"issued":{"date-parts":[[2026,7,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4744019","published":{"date-parts":[[2026,7,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:05Z","timestamp":1784283005518,"version":"3.55.0"},"posted":{"date-parts":[[2021,12,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,12,31]],"date-time":"2021-12-31T00:00:00Z","timestamp":1640908800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The artist chronicles a beetle.\u00a0Metamorphosing, transcending physical limitations into transcendental non-human existence, the artist moves over being kinematically shackled and bound by the imagined limits of the human mind.\u00a0Within the\u00a0perceptual cell, onomatopoeic expressions metamorphose into an unfettered call for change, albeit within the constrains of its actual existence.A series of videos chronicles the metal framework,\u00a0simultaneously concealing and revealing the process of alienation.\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u00a0Oblique perspectives on\u00a0the adjacency in perception and spatial alienation come into the chronicler's gaze.\u00a0The artist confronts her actual intentions-contrasting zones of\u00a0the\u00a0'alienation of the self' and 'self-transformation' by an illustrative enhancement\u200b\u200b\u200b\u200b\u200b, impelled as humanity's wake-up\u00a0call,\u00a0overcoming barriers and impediments, making decisions to transform and recount the tales of the ever-changing.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1272545","type":"posted-content","created":{"date-parts":[[2021,12,31]],"date-time":"2021-12-31T05:31:06Z","timestamp":1640928666000},"source":"Crossref","is-referenced-by-count":0,"title":["Is This Me?-Humanity's Wake-Up Call"],"prefix":"10.22501","author":[{"family":"Julia Fromm","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:57Z","timestamp":1784282397000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1272545\/1272546"}},"issued":{"date-parts":[[2021,12,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1272545","published":{"date-parts":[[2021,12,31]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936953,"version":"3.55.0"},"posted":{"date-parts":[[2025,9,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,12]],"date-time":"2025-09-12T00:00:00Z","timestamp":1757635200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"An RC adaptation of the project as presented at the Hugarflug conference, Reykjavik 2025.The presentation takes its point of departure in a photographic artistic research project that moves within the queer borderlands between drag and wrestling \u2013 two performative expressions that, through eccentric personas, embodied gestures, and DIY culture, destabilise notions of sex, gender, and sexuality. I approach these practices as arenas of performativity, where the hypermasculine and the hyperfeminine are not positioned in opposition, but meet in mutual tension and unstable, embodied renegotiation.Through photography, in reciprocal movement with essayistic writing, I explore images of identity in motion. The presentation is part of a diffractive methodology, where photographs neither illustrate nor represent, but emerge as entangled with fiction, memory, theory, and philosophy as components of a broader research apparatus. An unstable interplay emerges, where photography and language generate tacit knowledge \u2013 a possible, partial and situated enactment of how identity and the body are (re)presented and displaced.The project is diffractively grounded in the thinking of Barad, Butler, and Haraway on research apparatuses, performativity, and situated knowledge \u2013 with particular attention to the camera\u2019s and photographer\u2019s access to spaces where identity is performatively negotiated.<\/jats:p>\n keywords: PHOTOGRAPHY, essayistic, Autoethnographic, Diffractive methodology, conference<\/jats:p>","DOI":"10.22501\/rc.3861719","type":"posted-content","created":{"date-parts":[[2025,9,12]],"date-time":"2025-09-12T08:38:27Z","timestamp":1757666307000},"source":"Crossref","is-referenced-by-count":0,"title":["Hyper - Diffractive Photographic Diptychs in the Queer Borderlands of Drag and Wrestling"],"prefix":"10.22501","author":[{"family":"Carl-Mikael Bj\u00f6rk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:56Z","timestamp":1784282276000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3861719\/3861720"}},"issued":{"date-parts":[[2025,9,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3861719","published":{"date-parts":[[2025,9,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:00Z","timestamp":1784290020440,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This article concludes a research on the acoustic territory of post-war Sarajevo and a history of its acoustic performance. It will demonstrate the results of the investigation of the participation, contribution and perception of the selected soundscape in terms of its socio-political context.The research focused on two primary questions. First: can urban sound be a direct mirror image of the underlying socio-political condition and, thus, a performance of its source? Second: can, therefore, political peace have its own sound?For this research, the city of Sarajevo, Bosnia and Herzegovina, was chosen. There were two main reasons for its selection, one geographical and the other historical. Sarajevo lies in a narrow valley and is surrounded by hills, a geography comparable to an old Greek amphitheatre, with many of the same acoustic implications. On the mountaintops surrounding the city, you can hear the total sound image as well as detect singular sounds. During the war, between 1992 and 1995, these mountaintops were occupied by Serbian military forces, creating a circular front line without exit that isolated the city from the rest of the country and the world. This led to the assumption that Sarajevo must have a unique and rare acoustic history.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.221448","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:55Z","timestamp":1733131555000},"source":"Crossref","is-referenced-by-count":0,"title":["On the Performance of Sound. The Acoustic Territory of Post-War Sarajevo"],"prefix":"10.22501","author":[{"family":"Evy Schubert","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:43:46Z","timestamp":1784288626000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/221448\/221449"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.221448","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:33Z","timestamp":1784289873753,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T00:00:00Z","timestamp":1715558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: Technique Concerns: Ballet Practice Against the Western Archive, Supervisors: Ruth Anderwald + Leonhard GrondEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2738020","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:26:52Z","timestamp":1715585212000},"source":"Crossref","is-referenced-by-count":0,"title":["Dancing with Lions"],"prefix":"10.22501","author":[{"family":"Andrew Champlin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:23:45Z","timestamp":1784287425000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738020\/2738021"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2738020","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:27Z","timestamp":1784286207580,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2021,9,27]],"date-time":"2021-09-27T00:00:00Z","timestamp":1632700800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,9,27]]},"abstract":"Ephemer(e)ality Capture: Glitch Practices in Photogrammetry details artistic practice using cloud-based photogrammetry that actively invokes glitches through disturbance of the imaging algorithm by utilising optical phenomena. Reflective, transparent, specular and patterned\/repetitive objects were used to confuse the imaging algorithm to produce spikes, holes and glitches in the mesh and textures of the 3D objects produced. The research tests the limits of photogrammetry in an effort toward new image-making methods. It builds upon the research of Hito Steyerl\u2019s Ripping Reality: Blind spots and wrecked data in 3D in which she outlines the errors of 3D scanning media in her work and contextualises amongst thought surrounding the objectivity of photographic media. This research explores the potential gaps in Steyerl\u2019s approach, building upon investigations into 3D scanning\u2019s \u2018constructed imagery\u2019 through methods which explore \u2018fractional space\u2019 more thoroughly through glitches caused by capturing of optical phenomena. Through practice, the research investigates the possibilities of conducting a \u2018media archaeological\u2019 investigation of cloud-based technology using methods akin to \u2018Thinkering\u2019(Huhtamo) and \u2018Zombie Media\u2019 (Hertz & Parikka). These investigations sought to \u2018hack\u2019 technologies through focused technical adjustments or adaptations, centred on media that were \u2018local\u2019 or accessible to the artist - artists that have been able to open the machine\u2019s hardware to change circuitry or to access and change the software code. With cloud-based media\u2019s materiality being inaccessible, the investigation utilised techniques which actively disrupt and confuse the image-making process; a form of \u2018digital d\u00e9tournement\u2019 which develops techniques which reference Guy Debord\u2019s approach to disrupt the powers of image-making culture. The research is discussed with regards to similar approaches in contemporary glitch practices and aesthetics. Prior (2013) posits that glitch practices form a \u2018paralogy\u2019 of the Lyotardian notion of \u2018performativity\u2019 of the contemporary techno-economic conditions; acknowledging that paralogy is a method that contributes important critical discourses to culture and research. Previously, \u2018local\u2019 glitch practices focused on the internal affordances and functionality of the machine, whereas this research demonstrates practice which is focused externally \u2013 through the optical nature of images selected to disrupt the algorithm in photogrammetry rather than through \u2018hacking\u2019 the algorithm directly. Through these investigations and a discussion of their methodology, the research encourages a critical reflexivity of the artist\/user through use of a dynamic methodology. This is to reflect the issues of technological flux which sees imaging algorithms being updated and refined, forcing techniques and practices into obsolescence.<\/jats:p>\n keywords: 3D scanning, 3D, media archeology, error, artistic research, materiality, methodology, glitch, post-photography, algorithms, photogrammetry, digital art<\/jats:p>","DOI":"10.22501\/jar.547896","type":"journal-article","created":{"date-parts":[[2021,9,28]],"date-time":"2021-09-28T21:06:27Z","timestamp":1632863187000},"source":"Crossref","is-referenced-by-count":0,"title":["Ephemer(e)ality Capture: Glitching The Cloud through Photogrammetry"],"prefix":"10.22501","author":[{"family":"Tom Milnes","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:05:46Z","timestamp":1784282746000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/547896\/1320343"}},"issued":{"date-parts":[[2021,9,27]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jar.547896","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2021,9,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948879,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T00:00:00Z","timestamp":1772236800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The research presented here is based on the idea that matter is not a passive element to be shaped, but an active agent capable of generating forms, reactions, and processes. From this perspective, artistic practice does not consist in dominating matter, but in collaborating with it, allowing behaviors, tensions, and transformations to emerge that are inherent to its very mode of existence.Vegetables, in particular, are material with their own temporality: they dry, shrink, fracture, change color, and decompose. These processes are not accidents, but phenomena that reveal the dynamic nature of matter. The artist does not intervene to cancel them, but rather to frame, amplify, or redirect them.In this sense, the artistic surface becomes a meeting place between organic processes and formal decisions, between spontaneous phenomena and intentional gestures.<\/jats:p>\n keywords: ART, artwork, artistic research, art process, Contemporary art, Giusirames<\/jats:p>","DOI":"10.22501\/rc.4193863","type":"posted-content","created":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T12:17:58Z","timestamp":1772281078000},"source":"Crossref","is-referenced-by-count":0,"title":["THE VOICE OVER TIME"],"prefix":"10.22501","author":[{"family":"Giusirames","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:06Z","timestamp":1784282226000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4193863\/4193862"}},"issued":{"date-parts":[[2026,2,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4193863","published":{"date-parts":[[2026,2,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981915,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T00:00:00Z","timestamp":1622592000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The digital collapsed into the physical and what emerged is a strange landscape of mediated sight and sound.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1272934","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:14:53Z","timestamp":1684746893000},"source":"Crossref","is-referenced-by-count":0,"title":["Techno digital spatialities"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:11Z","timestamp":1784282411000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1272934\/1272935"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1272934","published":{"date-parts":[[2021,6,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:59Z","timestamp":1784282999520,"version":"3.55.0"},"posted":{"date-parts":[[2025,11,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,3]],"date-time":"2025-11-03T00:00:00Z","timestamp":1762128000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Exploring terminologies describing the relationships between music and gesture in composition, text (score), perfromance and re\/perception<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.108906","type":"posted-content","created":{"date-parts":[[2025,11,3]],"date-time":"2025-11-03T16:00:36Z","timestamp":1762185636000},"source":"Crossref","is-referenced-by-count":0,"title":["Motion Gesture Music \u2013 terminological explorations"],"prefix":"10.22501","author":[{"family":"Jan Schacher","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Germ\u00e1n Toro P\u00e9rez","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Christian Strinning","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:40Z","timestamp":1784282260000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/108906\/108907"}},"issued":{"date-parts":[[2025,11,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.108906","published":{"date-parts":[[2025,11,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,9,23]],"date-time":"2026-09-23T13:00:58Z","timestamp":1790168458248,"version":"4.1.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T00:00:00Z","timestamp":1763424000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,11,18]]},"abstract":"Kunstens grenser. Prosjektet er ba\u030ade er performativt og diskursivt: Kunstliturgien er en unders\u00f8kelse av kirkerommets potensial som kunstarena og en utpr\u00f8ving av kunstens grenser og stedsforandrende kraft i kirkerommet som offentlig rom. Man kan si at kirken befinner seg i et estetisk vakuum. Dette eventuelle tomrom kan tenkes som et mulighetsrom.Kirkemusikerens performative potensial. Prosjektet er samtidig en unders\u00f8klese av kirkemusikerens performative potensial. Prosjektet innbefatter en ambisjon om a\u030a utvikle og utvide organistens rolle og utvikle en performativ estetikk for musikere, basert pa\u030a egne erfaringer og kunstnerisk utvikling av rituelt musikkteater og liturgisk orgelspill.Utvikling av liturgisk musikk. Som del av det kunstneriske utviklingsarbeidet innga\u030ar samarbeid med et utvalg komponister- der vi i fellesskap vil utvikle musikalske material og konsepter, spesialskrevet for prosjektet og meg som ut\u00f8ver.Kunst og religion. Kirken var, en gang i tiden, stedet for kunst. Er det fortsatt slik? I lys av Reformasjonsjubileet i 2017, innehar prosjektet, pa\u030a et overordnet plan, en refleksjon over spennet mellom samtidskunsten og kirkekunsten siden reformasjonen, i norsk kontekst.Parallelt er Kunstliturgien en unders\u00f8kelse og refleksjon over forholdet mellom tro og kunst, estetikk og religion.Prosjektet har ogsa\u030a en spirituell og eksistensiell ambisjon: Kunstliturgien er en unders\u00f8kelse av kunstens transformerende dimensjon.<br><hr><br>The Boundaries of ArtThe project is both performative and discursive: The Art Liturgy is an exploration of the church space\u2019s potential as an arena for art, and an examination of the boundaries of art and its transformative power within the church as a public space. One might say that the church exists in an aesthetic vacuum. This possible emptiness can be understood as a space of possibility.The Performative Potential of the Church MusicianAt the same time, the project investigates the performative potential of the church musician. It includes an ambition to develop and expand the role of the organist and to cultivate a performative aesthetic for musicians, based on personal experience and artistic development within ritual music theatre and liturgical organ performance.Development of Liturgical MusicAs part of the artistic development work, the project involves collaboration with selected composers \u2014 together we will develop musical materials and concepts, written specifically for the project and for me as a performer.Art and ReligionThe church was, once upon a time, the place for art. Is that still the case? In light of the Reformation Jubilee in 2017, the project carries, on an overarching level, a reflection on the tension between contemporary art and church art since the Reformation, in a Norwegian context.In parallel, The Art Liturgy serves as an inquiry and reflection on the relationship between faith and art, aesthetics and religion.The project also holds a spiritual and existential ambition: The Art Liturgy is an exploration of art\u2019s transformative dimension.<\/jats:p>\n keywords: liturgi, kirkemusikk, kirkemusiker, performatitivet, Performance, Musikkteater, Ritualer, Kantor, Dramaturgi, kirkerom<\/jats:p>","DOI":"10.22501\/nmh-ar.3811885","type":"journal-article","created":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T13:23:51Z","timestamp":1763472231000},"source":"Crossref","is-referenced-by-count":0,"title":["Den kunstkliturgiske kiste"],"prefix":"10.22501","author":[{"family":"Liv Kristin Holmberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,9,23]],"date-time":"2026-09-23T12:04:08Z","timestamp":1790165048000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3811885\/3921029"}},"issued":{"date-parts":[[2025,11,18]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.3811885","published":{"date-parts":[[2025,11,18]]}},{"indexed":{"date-parts":[[2026,9,8]],"date-time":"2026-09-08T00:08:41Z","timestamp":1788826121487,"version":"build-2803163510"},"posted":{"date-parts":[[2026,9,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,9,8]],"date-time":"2026-09-08T00:00:00Z","timestamp":1788825600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"AbstractAn adjacent possible philosophy formed in kinship with the arroyo thinking\/imagining through me as I think\/imagine through the arroyo. A day-after-day walk. A dying\/living auto-curriculum of impossible\/possible tasks. A grief-abled process and a processual among the changing seasons. A movement in meander and a meandering movement. A process as product. A chiasmatic hybrid. An extimacy\/intimacy. A hedgerow between the in between and also trans-binary. An ADHD\/OCD epistemic justice (path)ology. A matriliminal thread from mycelial ancestors. An underworld and an otherworld and an ordinary world. A return and a return and a return. A tiny feast of pine needles, juniper berries, and pi\u00f1on seed. Graying ghosts. A mythos haunt through the grid of logos. A mother and a father and a husband and a daughter and a dog and snails and a messy house and a weedy garden. A surround and support of dear friends, human and other than human. An embroiderance into ritual towel and a red corner for the ritual towel to grace and a gift of a ritual towel to dawn daughter. A Baba Yaga grotesqueture asking will this body, this disintegrating self, sink or float. A Mokosh motif among the flora, her face a sun sign, birds perched on the hands of her upraised arms. An undifferentiated ocean. Mati Syra Zemlya.<\/jats:p>\n keywords: Artistic process philosophy, adjacent possible kinships in open systems, unknown sources of knowing, poetic thinking, living\/dying curriculum, epistemic justice<\/jats:p>","DOI":"10.22501\/rc.4854835","type":"posted-content","created":{"date-parts":[[2026,9,7]],"date-time":"2026-09-07T23:29:20Z","timestamp":1788823760000},"source":"Crossref","is-referenced-by-count":0,"title":["Hedge(path)ology: a Processual Dissertation in Seasons"],"prefix":"10.22501","author":[{"family":"Kim Parko","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,9,7]],"date-time":"2026-09-07T23:29:21Z","timestamp":1788823761000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4854835\/4854836"}},"issued":{"date-parts":[[2026,9,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4854835","published":{"date-parts":[[2026,9,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,9,24]],"date-time":"2026-09-24T09:02:18Z","timestamp":1790240538813,"version":"4.1.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,9,24]],"date-time":"2026-09-24T00:00:00Z","timestamp":1790208000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2026,9,24]]},"abstract":"NorskDenne oppg\u00e5va unders\u00f8ker korleis musikalsk inspirasjon vert transformert i utviklinga av eit eige kunstnarleg uttrykk innanfor singer-songwriter-feltet. Med utgangspunkt i to sj\u00f8lvkomponerte l\u00e5tar dr\u00f8ftar prosjektet korleis tekstlege, musikalske og soniske element fr\u00e5 inspirasjonskjelder vert tekne opp, omforma og integrerte i eigen praksis. Oppg\u00e5va er forankra i kunstnarleg utviklingsarbeid og kombinerer auditiv analyse med refleksjon over skapande arbeid.EnglishThis project examines how musical inspiration is transformed in the development of an artistic expression within the singer-songwriter field. Based on two original songs, it explores how lyrical, musical, and sonic elements from inspirational sources are taken up, reshaped, and integrated into artistic practice. The project is grounded in artistic research and combines auditory analysis with reflection on creative practice.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.4359583","type":"journal-article","created":{"date-parts":[[2026,9,24]],"date-time":"2026-09-24T08:21:28Z","timestamp":1790238088000},"source":"Crossref","is-referenced-by-count":0,"title":["Lizzy og meg"],"prefix":"10.22501","author":[{"family":"MAGNHILD","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,9,24]],"date-time":"2026-09-24T08:21:28Z","timestamp":1790238088000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4359583\/4359584"}},"issued":{"date-parts":[[2026,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.4359583","published":{"date-parts":[[2026,9,24]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:48Z","timestamp":1742358168005,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0007","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:47:41Z","timestamp":1538063261000},"source":"Crossref","is-referenced-by-count":0,"title":["Project Anywhere: Problems of Representation and Evaluation"],"prefix":"10.22501","author":[{"given":"Sean","family":"Lowry","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2018,5,20]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:47Z","timestamp":1742292167000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/project-anywhere-problems-representation-and-evaluation"}},"issued":{"date-parts":[[2018,5,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0007","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2018,5,20]]}},{"indexed":{"date-parts":[[2023,3,21]],"date-time":"2023-03-21T05:17:21Z","timestamp":1679375841111},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["University of Applied Arts Vienna"],"published-print":{"date-parts":[[2023,3,20]]},"DOI":"10.22501\/repos.1860685","type":"journal-article","created":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T10:33:43Z","timestamp":1679308423000},"source":"Crossref","is-referenced-by-count":0,"title":["reposition Editorial #1"],"prefix":"10.22501","author":[{"family":"Alexander Damianisch","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Barbara Putz-Plecko","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Applied Arts Vienna"],"language":"en","deposited":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T10:33:46Z","timestamp":1679308426000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1860685\/1860686"}},"issued":{"date-parts":[[2023,3,20]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/repos.1860685","published":{"date-parts":[[2023,3,20]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:11Z","timestamp":1784289911093,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2025,4,23]],"date-time":"2025-04-23T00:00:00Z","timestamp":1745366400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,4,23]]},"abstract":"Editorial: Sounding the Contradictions in and of the (Post-)Soviet Realm<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.3519460","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T03:12:48Z","timestamp":1743649968000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: Sounding the Contradictions in and of the (Post-)Soviet Realm"],"prefix":"10.22501","author":[{"family":"Vadim Keylin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:29:16Z","timestamp":1784287756000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3519460\/3519461"}},"issued":{"date-parts":[[2025,4,23]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jss.3519460","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2025,4,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:02:56Z","timestamp":1784289776702,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T00:00:00Z","timestamp":1749686400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,6,12]]},"abstract":"The current research builds on exhibitions hosted by the S\u00e1mi Centre for Contemporary Art in Karasjok in 2023. These exhibitions featured Indigenous S\u00e1mi artists, involving both curators and non-Indigenous art managers and facilitators. Some projects showcased solo exhibitions by S\u00e1mi artists, while others adopted the format of exhibitions based on the RidduDuottar Museum Collection in Karasjok. The study aims to uncover the primary methods of facilitation and the application of love and care in creating spaces for interaction between artists, artworks, and audiences at the S\u00e1mi Centre for Contemporary Art. First, the cases are presented, followed by an analysis applying two keywords \u2013 facilitation and love. The research method employed is arts-based research. The data consist of visual data in the form of photo documentation and text-based data in the form of notes. The data are approached through reflexive analysis. The analysis of these cases delves into the concept of love, containing sub-concepts such as care, compassion, and empathy. The findings yield key recommendations that facilitators of artistic gatherings can implement in art galleries presenting Indigenous S\u00e1mi art.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.2588285","type":"journal-article","created":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T02:29:32Z","timestamp":1749695372000},"source":"Crossref","is-referenced-by-count":0,"title":["Facilitating Dialogues in Indigenous S\u00e1mi Art Projects at the S\u00e1mi Centre for Contemporary Art in Karasjok"],"prefix":"10.22501","author":[{"family":"Marija Griniuk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:18Z","timestamp":1784286258000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2588285\/3226667"}},"issued":{"date-parts":[[2025,6,12]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2588285","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2025,6,12]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:58Z","timestamp":1784290078298,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2016,7,10]],"date-time":"2016-07-10T00:00:00Z","timestamp":1468108800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,10]]},"abstract":"This paper discusses the soundscape of Hanoi and of the countryside north of Hanoi in the Bac Ninh province with the experience of the two authors as artists in two collaborative projects, Arrival Cities: Hanoi and Que\/Homelands. The content is structured in three layers, a conversation between the two authors on their individual experience of the projects, a jointly written text which takes a more distant perspective to the topic and a series of video and audio files taken from the two artistic projects. While the two projects were completely independent, this paper identifies ways in which they complement each other and, taken together, the sound art collected within the projects may have a further political meaning. The authors suggest that the shifting soundscapes of Vietnam are a direct reflection of social and political change in the country.<\/jats:p>\n keywords: sound art, field recording, music theater, documentary<\/jats:p>","DOI":"10.22501\/jss.246523","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:05Z","timestamp":1733131625000},"source":"Crossref","is-referenced-by-count":0,"title":["The sounds of Hanoi and the after-image of the homeland"],"prefix":"10.22501","author":[{"family":"Stefan \u00d6stersj\u00f6","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Nguyen Thanh Thuy","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:49:27Z","timestamp":1784288967000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/246523\/246546"}},"issued":{"date-parts":[[2016,7,10]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.246523","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2016,7,10]]}},{"indexed":{"date-parts":[[2024,2,29]],"date-time":"2024-02-29T00:39:44Z","timestamp":1709167184752},"posted":{"date-parts":[[2024,2,28]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.2603989","type":"posted-content","created":{"date-parts":[[2024,2,28]],"date-time":"2024-02-28T22:55:36Z","timestamp":1709160936000},"source":"Crossref","is-referenced-by-count":0,"title":["BURST! - Creating a new personal language developing consistency between improvisation and composition"],"prefix":"10.22501","author":[{"family":"Michele Rampino","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,2,28]],"date-time":"2024-02-28T22:55:37Z","timestamp":1709160937000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2603989\/2603607"}},"issued":{"date-parts":[[2024,2,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2603989","published":{"date-parts":[[2024,2,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995547,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"30","license":[{"start":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T00:00:00Z","timestamp":1698105600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,10,24]]},"abstract":"A combination of highly unusual extended playing techniques with open intabulated notation makes the solo guitar work Tellur altogether unique in Tristan Murail\u2019s catalogue. When placed in the broader discursive context of Murail\u2019s compositional philosophy, this unique configuration of elements causes a quandary. The composer aims to integrate \u201cthe totality of sonic phenomena\u201d into his compositional language, and within this context he maintains a traditional view of musical authorship. However, how does a performer reconcile this perspective with a score of which the combination of unconventional techniques and open notation leaves so much of the sonic material to their individual discretion and know-how?This exposition offers the first performance-led study of this conundrum in Murail\u2019s music and writings. Using Lydia Goehr\u2019s historical study of the work-concept as a point of orientation, I explore the functioning of Werktreue in Tellur. I show that the processual structures that should make up its \u201cideal\u201d score are correlative with the composer\u2019s abstraction of the guitar, which is in its turn correlative with the guitarist\u2019s unconventioned heuristics. I argue that confronting traditional musical authorship with this system of correlation creates a discursive aporia, but not a practical impossibility. Rather the discursive aporia brings to light what I call the \u201cheterotopia of the practice room.\u201d In this heterotopia, I as a performer navigate a musical reality that simultaneously reflects and contests a tradition of classical music performance built around the regulative work-concept.<\/jats:p>\n keywords: Tellur, Tristan Murail, Guitar, Lydia Goehr, Werktreue, musical authorship, heterotopia, extended techniques<\/jats:p>","DOI":"10.22501\/jar.1354542","type":"journal-article","created":{"date-parts":[[2023,10,24]],"date-time":"2023-10-24T10:08:10Z","timestamp":1698142090000},"source":"Crossref","is-referenced-by-count":0,"title":["Heterotopia of the Practice Room: Casting and Breaking the Illusion of Tristan Murail\u2019s Tellur for Solo Guitar"],"prefix":"10.22501","author":[{"family":"Maarten Stragier","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:08Z","timestamp":1784282408000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1354542\/2100355"}},"issued":{"date-parts":[[2023,10,24]]},"references-count":0,"journal-issue":{"issue":"30"},"URL":"https:\/\/doi.org\/10.22501\/jar.1354542","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,10,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:45Z","timestamp":1784290065259,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2016,7,11]],"date-time":"2016-07-11T00:00:00Z","timestamp":1468195200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,11]]},"abstract":"All over Taiwan, garbage trucks equipped with loudspeakers make their rounds, playing tunes that announce their arrival to the citizens. Designed to reach people's homes at a considerable distance from the stopping points, the two garbage truck tunes thrust themselves onto large swaths of Taiwan's landscape and all of its living inhabitants. According to the author, another species, besides homo sapiens sapiens, has taken notice and musically responded to it. He describes how he witnessed a repetitive sound pattern remarkably similar to a part of a garbage truck melody able to emulate these signals. The melody was collectively executed by a small group of animals he could not see, each producing one not at a time. The author offers a possible candidate, the Brown-Flanked Bush Warbler, and a reconstruction of what he heard. These observations are contextualized within the emerging field of zoomusicology.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.286848","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:04Z","timestamp":1733131624000},"source":"Crossref","is-referenced-by-count":0,"title":["Taiwanese Bush Warblers imitating garbage trucks: a mutual affair?"],"prefix":"10.22501","author":[{"family":"Mark van Tongeren","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:49:01Z","timestamp":1784288941000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286848\/286849"}},"issued":{"date-parts":[[2016,7,11]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.286848","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2016,7,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:04Z","timestamp":1784289844012,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2016,10,3]],"date-time":"2016-10-03T00:00:00Z","timestamp":1475452800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,10,3]]},"abstract":"Sosiaalinen muotoilu \u201csocial design\u201d on muutoksen muotoilua. Sosiaalisen muotoilun tavoitteena on k\u00e4ytt\u00e4\u00e4 taiteen ja muotoilun menetelmi\u00e4 el\u00e4m\u00e4n laadun parantamiseen (Papanek 2006). Muutoksen tarve on sis\u00e4\u00e4nkirjoitettu sosiaalisen muotoilun prosessiin. Tavoitteena on p\u00e4\u00e4ty\u00e4 eri tilanteeseen mist\u00e4 l\u00e4hdettiin (Andrews 2011). Sosiaalista muotoilua toteutetaan kehittyviss\u00e4 maissa tai yhteis\u00f6iss\u00e4, jotka ovat syrj\u00e4ytyneet tai syrj\u00e4ytymisvaarassa (Miettinen 2006). T\u00e4m\u00e4 artikkeli pohtii sosiaalisen muotoilun aiheuttamaa muutosta taiteilijassa, tutkijassa ja paikallisessa yhteis\u00f6ss\u00e4. Artikkelin tavoitteena on nostaa esiin sosiaalisen muotoilun aiheuttama muutosprosessi ja sen vaikutukset yhteis\u00f6\u00f6n (Miettinen 2007). Taiteilija tai tutkija el\u00e4\u00e4 muutoksessa mukana ja yritt\u00e4\u00e4 tuoda paikallisille ihmisille edellytyksi\u00e4 tulla toimeen muutoksen keskell\u00e4 Artikkeli nostaa esiin sek\u00e4 moni\u00e4\u00e4nisen kehitt\u00e4mis- ja tutkimusty\u00f6n haasteet ett\u00e4 dialogin, joka tuottaa taidetta, tunnetta, muistoja ja muutosta tekij\u00f6iss\u00e4\u00e4n. Artikkeli kysyy miten sosiaalisesti vastuullisen taiteen ja sosiaalisen muotoilun tekemisen prosessi muuttaa tekij\u00f6it\u00e4\u00e4n ja miten sen kentt\u00e4 muuttuu ja m\u00e4\u00e4rittyy yh\u00e4 uudelleen?Artikkelin taustalla on taiteilija- ja tutkijaryhm\u00e4n yli vuosikummenen kest\u00e4nyt ty\u00f6skentely afrikkalaisten paikallisten yhteis\u00f6jen parissa. Tutkija- ja taitelijaryhm\u00e4\u00e4 on yhdist\u00e4nyt pyrkimys ja mahdollisuus sosiaaliseen vastuullisuuteen. Projekteista viimeisin on ollut \u201cMy Dream World \u201d \u2013hanke 2013-2015, jonka tavoitteena oli k\u00e4ytt\u00e4\u00e4 palvelumuotoilun menetelmi\u00e4 etel\u00e4-afrikkalaisten ja namibialaisen ty\u00f6tt\u00f6mien nuorten palveluiden kehitt\u00e4misess\u00e4 ja osallistamisessa demokraattisemman ja tasa-arvoisemman yhteiskunnan rakentamiseen (Miettinen et. al 2014). Hanke sai tunnustusta osana Wolrd Design Capital Cape Town 2014 vuoden virallista ohjelmaa. Artikkelin aineistona toimivat projektin aikana dokumentoidut ryhm\u00e4keskustelut, hankkeeseen osallistuneiden nuorten kirjoittamat tarinalliset luotaimet ja kommentit projektista sek\u00e4 osana projektia tuotetut videot, valokuvat ja tekstiiliteokset. Artikkeli keskittyy erityisesti kahden ty\u00f6pajan aineistojen analysointiin. Ty\u00f6paja Namibian Keetmanshoopissa ja ty\u00f6paja Etel\u00e4-Afrikan Kimberleyss\u00e4 San \u2013nuorten kanssa. Projektissa toteutettiin yhteens\u00e4 nelj\u00e4 ty\u00f6pajaa Afrikassa ja yksi ty\u00f6paja Suomessa. Osana projektia toteutettiin my\u00f6s n\u00e4yttelyiden ja flash mob \u2013esitysten sarja Suomessa ja Etel\u00e4-Afrikassa.Artikkeli aukaisee \u201cMy Dream World\u201d hankkeen kontekstia, johon sosiaalinen muotoilu sijoittuu ja sen haasteita ja mahdollisuuksia taiteilijalle tai tutkijalle. Taiteilija tai tutkija saa yht\u00e4 paljon tutkimuskohteeltaan kuin mit\u00e4 itse pystyy sille antamaan. Artikkelissa pohditaan sosiaalisesti vastuullisen taiteen ja sosiaalisen muotoilun v\u00e4list\u00e4 keskustelua, toimintamalleja ja nimikkeit\u00e4, yhtym\u00e4kohtia ja eroavaisuuksia. Artikkeli nostaa esiin osallistavan ja yhteis\u00f6llisen taiteen nimike-runsauteen. Kentt\u00e4 on niin el\u00e4v\u00e4 ja muutoksessa, ett\u00e4 nimikeetkin syntyv\u00e4t uudelleen.Artikkeli tuo esiin paikallisen yhteis\u00f6n, nuorten \u00e4\u00e4net k\u00e4ytt\u00e4m\u00e4ll\u00e4 apuna heid\u00e4n kirjoittamiaan tarinallisia luotaimia ja sankarin matka \u2013videoty\u00f6kalun avulla kulkemaansa tarinallista matkaa. Nuoret kertovat toiveistaan ja unelmistaan sek\u00e4 muutoksen tarpeesta. Sosiaalinen muotoilu ja sosiaalisesti vastuullinen taide mahdollistavat moni\u00e4\u00e4nisen dialogin. T\u00e4m\u00e4n tuloksena syntyy kuvia unelmista ja muutoksesta sek\u00e4 nuoriin ett\u00e4 taiteilijoihin. Artikkeli nostaa esiin kuvia ja videoita, jotka liittyv\u00e4t prosessiin.<\/jats:p>\n keywords: social design, socially engaged art, service design<\/jats:p>","DOI":"10.22501\/ruu.261804","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:04Z","timestamp":1503635044000},"source":"Crossref","is-referenced-by-count":0,"title":["Sosiaalisen muutoksen muotoilua"],"prefix":"10.22501","author":[{"family":"Satu Miettinen0","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:18:08Z","timestamp":1784287088000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/261804\/261805"}},"issued":{"date-parts":[[2016,10,3]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/ruu.261804","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2016,10,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:22Z","timestamp":1784283022081,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,6]],"date-time":"2024-06-06T00:00:00Z","timestamp":1717632000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The artistic research project I HAVE THE MOON was an experimental group activity or 'band retreat' for five composer-performers resulting in a public performance in the aDevantgarde Festival, 2019, in Munich. Research was conducted around a central research question stated verbally at the outset of the project: how can aesthetic innovations of contemporary classical music be made accessible to audiences without specialist education or background via communicative techniques of other music genres? After a substantial verbal discussion and sessions of musical jamming, each member created an artistic response to the research question, in the form of a composition or comprovisation, which the group then premiered in the aDevantgarde Festival. The results of the discussion, artistic works and final performance (by means of a video documentation) were then analysed by the project leader and presented in this article. The artistic research position is defined a priori through the research question, during the artistic process in the form of note-taking and multimedial documentation, and a posteriori through a (novel) 'Workflow-Tool-Application Analysis' (WTAA). Together, a method of 'lingocentric intellectual scaffolding' on the emobided knowledge inside the creative process is proposed. Insofar as this embodied knowledge can be seen as a 'field' to be researched, the methodology is built on collaborative autoethnography, 'auto-', since the project leader took part in the artistic process, guiding it from within.<\/jats:p>\n keywords: artistic research, music, music aesthetics, music theater, Music analysis, neue musik, composer-performer, composers, composition, composition process, composition technique, Accessibility, communication, improvisation, improvisational scores, open scores, notes, note-taking, jamming, concert, munich, adevantgarde, workshop, embodiment, felt, Embodied knowledge, new music, interdisciplinary performance, interdisciplinary, transdiciplinarity, transdisciplinary<\/jats:p>","DOI":"10.22501\/rc.957550","type":"posted-content","created":{"date-parts":[[2024,4,16]],"date-time":"2024-04-16T11:15:19Z","timestamp":1713266119000},"source":"Crossref","is-referenced-by-count":0,"title":["I HAVE THE MOON: aesthetics of contemporary classical music from a composer-performer band retreat."],"prefix":"10.22501","author":[{"family":"Samuel Penderbayne","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:44Z","timestamp":1784282324000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/957550\/957551"}},"issued":{"date-parts":[[2024,6,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.957550","published":{"date-parts":[[2024,6,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:50Z","timestamp":1784282990302,"version":"3.55.0"},"posted":{"date-parts":[[2024,12,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,12,5]],"date-time":"2024-12-05T00:00:00Z","timestamp":1733356800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Heaven on Earth: As Above, So Below\" introduces the novel idea that features on the seafloor mirror the constellations in our night sky; challenging the long-held belief that ancient people simply imagined such unusual creatures amongst the stars. Visual evidence is produced by exploring the topography of Earth to make connections with constellation myths. The results are highlighted on a digital map and surprisingly follow the same meticulous order as defined by ancient narratives. This research should resonate with individuals in various fields, including: Art, History, Religious Studies, Astrology, Archaeology, Environmental Studies, Sociology, Linguistics, Folklore, Anthropology, Geography, Humanities, Cognitive Science, Psychology, Classical Literature, Astrophysics and Cultural Anthropology.WARNING: Contents may cause a permanent change to your worldview.<\/jats:p>\n keywords: Heaven on Earth, cosmic ocean, constellations, mythology, topography<\/jats:p>","DOI":"10.22501\/rc.3032777","type":"posted-content","created":{"date-parts":[[2024,12,5]],"date-time":"2024-12-05T16:40:27Z","timestamp":1733416827000},"source":"Crossref","is-referenced-by-count":0,"title":["Heaven on Earth: As Above, So Below"],"prefix":"10.22501","author":[{"family":"Bradly Couch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:30Z","timestamp":1784282310000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3032777\/3042639"}},"issued":{"date-parts":[[2024,12,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3032777","published":{"date-parts":[[2024,12,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:56Z","timestamp":1784286296753,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2013,6,18]],"date-time":"2013-06-18T00:00:00Z","timestamp":1371513600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2013,6,18]]},"abstract":"During 2011-2012, I joined Virginia Commonwealth University\u2019s Art and Design School in Qatar, a small country diplomatically and culturally important in bridging eastern and western cultures. There, my daily interactions with students naturally stimulated many questions of how a visual culture can lay the groundwork for better understanding between people of different nationalities. If asked to be mediators or interpreters or agents of culture in our globalized context, what would these young artists seek to convey? In turn, what narratives could I draw forth to contribute to a fuller understanding of those living and working in Qatar? I decided to pursue answers to my conundrum in conjunction with my students.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.23593","type":"journal-article","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:36:42Z","timestamp":1497983802000},"source":"Crossref","is-referenced-by-count":0,"title":["Doha"],"prefix":"10.22501","author":[{"family":"Miriam Ewers","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:17:19Z","timestamp":1784283439000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/23593\/45794"}},"issued":{"date-parts":[[2013,6,18]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/jar.23593","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2013,6,18]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026467,"version":"3.55.0"},"posted":{"date-parts":[[2024,11,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,11,1]],"date-time":"2024-11-01T00:00:00Z","timestamp":1730419200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Interactive environment based on Kinect Azure sensor where the participant draws shapes of his body. When the time passes, the frozen still images of their movemnt go higer.<\/jats:p>\n keywords: Dance, technology, Kinect, environment, interactive, immersion<\/jats:p>","DOI":"10.22501\/rc.3140993","type":"posted-content","created":{"date-parts":[[2024,11,1]],"date-time":"2024-11-01T04:53:00Z","timestamp":1730436780000},"source":"Crossref","is-referenced-by-count":0,"title":["Coalesce [coalesce_unpublished - 2024-11-01 09:33]"],"prefix":"10.22501","author":[{"family":"Laura Adel","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:33Z","timestamp":1784282313000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3140993\/3140985"}},"issued":{"date-parts":[[2024,11,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3140993","published":{"date-parts":[[2024,11,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:42Z","timestamp":1784282982760,"version":"3.55.0"},"posted":{"date-parts":[[2024,10,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The perception of the canon of post-war Western art music today is still strongly determined by a constructed dichotomy which keeps Western art music separate from evolutions and radical experiments in jazz and African-American music. The very extensive oeuvre and philosophical body of thought of the American composer Anthony Braxton, what he calls his Tri-Centric Thought Unit Construct (TCTUC), can be seen as the metaphorical elephant in the room. This unique oeuvre has been largely ignored to this day within the repertoire, discourse and performance practice associated with the canon of post-war Western art music. This research project takes Anthony Braxton's TCTUC as a starting point to see how I, as an interpreter of Braxton\u2019s music, can contribute to a broadening of this canon.My intention with this research is to provide artistic responses to the gaps within the existing discourse on post-war Western art music (see Braxton, Lewis, Piekut, Born, a.o.) by approaching a wide selection of Braxton\u2019s compositions on his own terms. By putting these works as specific case studies on the agenda of relevant actors such as the conservatory, contemporary music festivals and concert series and through recordings and other media, I aimed to make a canon broadening possible through my practice as an interpreter. The results of this research, presented in the form of concerts, lectures, articles, workshops and recordings, are collected in this Research Catalogue website.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2120516","type":"posted-content","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T12:16:30Z","timestamp":1730204190000},"source":"Crossref","is-referenced-by-count":0,"title":["ANTHONY BRAXTON'S TRICENTRIC THOUGHT UNIT CONSTRUCT AND POST WAR WESTERN ART MUSIC"],"prefix":"10.22501","author":[{"family":"Kobe Van Cauwenberghe","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:34Z","timestamp":1784282314000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2120516\/2449530"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2120516","published":{"date-parts":[[2024,10,29]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984497,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A Project that explores tool making sculpturally, speculating on a pre-lingual modality of meaning making. This research uses tool making processes to explore physically initiated modalities of articulating thought outside of the meaning making operations of language. Tool making is conceptualized as an external scaffolding structure where one may explore making beyond or detached from language based manners of thinking. Research stems from material constraints that shape our understanding of objects and processes. The research attempts to explore the limits of constraints. Can I create a new tool for drawing that changes the way we make drawing? I use the notion of the studio as a constellation of objects, tools, instruments, processes. Through the studio I build and explore new ways to encounter art making. The studio also creates tangential pathways. It is a collection of my past, my future, memories, failures, interests, side projects and interests. It can be a productive pipeline or procrastination manifest.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4081800","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T10:49:41Z","timestamp":1774435781000},"source":"Crossref","is-referenced-by-count":0,"title":["RE:\/\/Appart"],"prefix":"10.22501","author":[{"family":"Matyou Galea","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:55Z","timestamp":1784282215000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4081800\/4081801"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4081800","published":{"date-parts":[[2026,3,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936880,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T00:00:00Z","timestamp":1759708800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Esta experi\u00eancia criativa foi desenvolvida na disciplina de Epistemologia da Cultura, do Mestrado Interdisciplinar em Din\u00e2micas Sociais, Conex\u00f5es Art\u00edsticas e Saberes Locais do Centro de Ci\u00eancias de S\u00e3o Bernardo, da Universidade Federal do Maranh\u00e3o. Vivenciamos a paisagem sonora da Igreja Matriz do munic\u00edpio de S\u00e3o Bernardo, localizado no estado do Maranh\u00e3o. Destacamos a sua import\u00e2ncia religiosa, hist\u00f3rica, cultural e afetiva para a cidade, utilizando recursos po\u00e9ticos e perform\u00e1ticos, a fim de evidenciar a paisagem sonora como express\u00e3o cultural. Buscamos compreender a rela\u00e7\u00e3o entre os sons e a mem\u00f3ria afetiva, investigando como a sonoridade influencia as percep\u00e7\u00f5es e lembran\u00e7as do espa\u00e7o, bem como refletir sobre a experi\u00eancia perform\u00e1tica, destacando o processo de escuta ativa e de imita\u00e7\u00e3o dos sons do ambiente. Como aporte te\u00f3rico para alicer\u00e7ar o processo criativo, utilizamos autores que discutem a escuta e paisagem sonora, em especial R. Murray Schafer, Pierre Schaeffer e Marisa Fonterrada.<\/jats:p>\n keywords: Paisagem sonora, Processo criativo, Escuta, Sensibiliza\u00e7\u00e3o sonora<\/jats:p>","DOI":"10.22501\/rc.3918433","type":"posted-content","created":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T14:05:00Z","timestamp":1759759500000},"source":"Crossref","is-referenced-by-count":0,"title":["OS SONS DO SAGRADO: UM EXPERI\u00caNCIA SONORA NA IGREJA MATRIZ DE S\u00c3O BERNARDO \u2013MA"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0000-7738-2834","authenticated-orcid":false,"family":"Natacha Oliveira Pinto","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:52Z","timestamp":1784282272000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3918433\/3918434"}},"issued":{"date-parts":[[2025,10,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3918433","published":{"date-parts":[[2025,10,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936948,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Wall Refused to Explain ItselfGraffiti and the Ethics of WitnessBy Dorian ValeWhat if the wall isn\u2019t asking to be read \u2014 but to be witnessed?In this field-shifting essay, Dorian Vale reclaims graffiti as one of the most ethically potent forms of aesthetic witness. Far from being a plea for interpretation, graffiti \u2014 in its rawest, uncurated form \u2014 is an act of presence without permission, an assertion of self or pain that demands neither explanation nor approval. Graffiti has often been categorized as vandalism or mythologized as rebellious art, but both readings reduce it to an object of consumption. Vale reframes graffiti through the lens of Post-Interpretive Criticism (PIC): not as a message to decode, but as a residue of someone who refused to remain unseen. The wall does not offer clarity. It offers consequence. This essay explores the ethics of witnessing works that were never made for museums, never meant to be collected, never signed with legacy in mind. It positions graffiti as a form of silent mourning, coded resilience, or anonymous mercy \u2014 and interrogates the violence of trying to interpret what was meant only to be left intact. Through the doctrines of moral proximity, residue, and non-performance, Vale challenges viewers, critics, and curators to reconsider their stance: If you see a name scrawled on concrete, bleeding through brick \u2014 do you need to know who wrote it to kneel? Vale, Dorian. The Wall Refused to Explain Itself: Graffiti and the Ethics of Witness. Museum of One, 2025. DOI: 10.5281\/zenodo.17038493 graffiti theory, Dorian Vale, Post-Interpretive Criticism, ethics of witness, art and vandalism, ephemeral art, street art ethics, moral proximity in art, witnessing graffiti, non-interpretive art, anonymous expression, public space aesthetics, wall as canvas, trauma and urban art, aesthetic residue, refusal to explain, post-critical graffiti, marginal art theory, slow art, silent protest, sacred witness in public spaces, art of the unseen, unsanctioned beautyThis entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Museum of One, Independent Philosopher of Art, Aesthetic Philosopher, Art Writer and Theorist, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Museum of One Manifesto, Erasure as Afterlife, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Witness over interpretation, Radical art restraint, Interpretive Restraint, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/orcid.org\/0009-0004-7737-5094<\/jats:p>","DOI":"10.22501\/rc.3921646","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T16:24:09Z","timestamp":1759940649000},"source":"Crossref","is-referenced-by-count":0,"title":["The Wall Refused to Explain Itself: Graffiti and the Ethics of Witness"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:43Z","timestamp":1784282263000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921646\/3921645"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921646","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:11Z","timestamp":1784286251330,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2017,1,6]],"date-time":"2017-01-06T00:00:00Z","timestamp":1483660800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,1,6]]},"abstract":"'ANCHORAGE' constitutes a collaborative piece of phenomenologically inspired drawing research, undertaken by artists Joe Graham, Steven Dickie, and Chantal Faust. Comprising forty drawings plus a written text, the objective is to \u2018outline\u2019 an understanding of the phenomenon of outline, described in an effort to overcome the traditionally definitive descriptions of it that abound (Rawson 1987; Maynard 2005; Thomas and Taylor 2003). In this respect, it constitutes both a relocation and an online extension of an earlier stage to the project, published in print: 'ANCHOR' (2015). In outlining an alternative form of reply to the earlier question (what is an outline?), the purpose of 'ANCHORAGE' is to revisit what was left uninspected or simply assumed; namely, whether an invariant understanding of outline in relation to drawing as a form of art might sensibly be defined. To address this notion, a variety of hand drawn \u2018outlines\u2019 by Graham, Dickie, and Faust are supplied for analysis, using original material from 'ANCHOR' as a guide. As lead investigator, the text by Graham seeks to unpack these variations as a part of a Husserlian-inspired methodology (Husserl [1950] 1999). This is geared towards seeking what an essential or perhaps even \u2018truthful\u2019 understanding of outline might look like, contingent on the drawings presented here.<\/jats:p>\n keywords: drawing, drawing research, variational practice, phenomenology<\/jats:p>","DOI":"10.22501\/jar.254758","type":"journal-article","created":{"date-parts":[[2017,2,28]],"date-time":"2017-02-28T06:34:21Z","timestamp":1488263661000},"source":"Crossref","is-referenced-by-count":0,"title":["ANCHORAGE: a phenomenology of outline"],"prefix":"10.22501","author":[{"family":"Joe Graham","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Steven Dickie","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Chantal Faust","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:12:24Z","timestamp":1784283144000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/254758\/254759"}},"issued":{"date-parts":[[2017,1,6]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jar.254758","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2017,1,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:40Z","timestamp":1784282980105,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,8]],"date-time":"2023-06-08T00:00:00Z","timestamp":1686182400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This thesis is aimed at investigating virtual embodiment and how it can affect a performer's experience of; and relationship to the physical body. With this auto ethnographic case study I hope to shed some light on the ways virtual reality technology enables critical experiences and what effects these experiences could have, through my own personal journey. The study was conducted in the setting of my home using a Pico 4 VR head mounted display and HTC vive full body tracking. The project used for the case study was an audiovisual pole dance performance that was performed on the platform Neos VR and streamed to Studio 44 in Stockholm. The research is rooted in the artistic field but draws knowledge from psychological and social research on VR as a cognitive and embodied technology. The research methods used to gather and analyse the research material were visual research, phenomenology and deep listening. The data collection consisted of visual and text based data. On the visual data I applied thematic analysis, coding and categorising of the text based data and analysing hyper reflections with a phenomenological approach. I found that the experience of virtual embodiment did change my relationship to my own body in a positive way by feeling more grounded and accepting. I was less anxious about performing and felt more confident in myself. Because of the entanglement of the study it was not possible to solely contribute the outcomes of the effect to virtual avatar embodiment in itself. It did however demonstrate how these VR technologies could be used to enable norm critical experiences by the use of norm critical design applied to avatars challenging beauty ideals and societal norms of performativity. My virtual embodiment and its effects on me can give a unique insight that would benefit developers and users active in these platforms as well as for personal introspection and self development. The study serves as a good base to build future research on and I intend to further elaborate on the extensive research data that was gathered.<\/jats:p>\n keywords: Virtual Reality, Embodiment, Posthuman, Glitch Feminism, Avatars, Phenomenology, Cybernetics, Norm-Critical Experience, virtual reality, embodiment, posthuman, glitch feminism, phenomenology, cybernetics<\/jats:p>","DOI":"10.22501\/rc.1764857","type":"posted-content","created":{"date-parts":[[2023,6,8]],"date-time":"2023-06-08T16:15:17Z","timestamp":1686240917000},"source":"Crossref","is-referenced-by-count":0,"title":["RNDR M3 4S (1) 0F UR AVATAR GRLS*"],"prefix":"10.22501","author":[{"family":"AMUSED","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:28Z","timestamp":1784282368000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1764857\/1764858"}},"issued":{"date-parts":[[2023,6,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1764857","published":{"date-parts":[[2023,6,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984466,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,4]],"date-time":"2026-03-04T00:00:00Z","timestamp":1772582400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Based on ethnographic findings from artistic research conducted with South and Southeast Asian youth in Hong Kong (HK), the paper examines how creative pedagogy intervenes in what Fricker (2007) calls hermeneutical injustice. That is, \u201cwhen a gap in the collective interpretive resources puts someone at an unfair disadvantage when it comes to making sense of their social experiences.\u201d (p. 1). In HK\u2019s context, where minoritised ethnic individuals and communities are often expected to present their lives in ways that are legible within its framework of diversity, inclusion, and multiculturalism, this paper attends to the excess: what happens to the embodied and affective dimensions of our being\u2013\u2013ambivalence, anger, in-betweenness, opacity\u2013\u2013that remain unsayable because they not fit into the neoliberal language of diversity? Drawing on Black feminist thought, this paper argues that creative pedagogy cultivates dialogical spaces in which \u201csubjugated knowledges,\u201d to borrow Hill Collins\u2019 (2000) formulation of the term, can be articulated beyond commodified and institutionally managed scripts of diversity. It first traces the emergence of diversity governance in HK as one of the structural conditions that produce the hermeneutical gaps which delimit how diverse ethnic groups make sense of their experiences. Then, it positions creative pedagogy as a site of epistemic and political intervention within the broader genealogy of Paolo Freire\u2019s critical pedagogy. In doing so, the paper demonstrates how creative pedagogy produces epistemic friction that enables participants to renegotiate or refuse institutional vocabularies of diversity, thus opening up the hermeneutical field. This paper contributes to debates in artistic research by positioning creative pedagogy and artistic research as a mode of theorising that enlarges what can be thought, felt, and spoken within\u2014and against\u2014neoliberal racial governance.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4226444","type":"posted-content","created":{"date-parts":[[2026,3,4]],"date-time":"2026-03-04T01:10:27Z","timestamp":1772586627000},"source":"Crossref","is-referenced-by-count":0,"title":["Refusing \u201cDiversity Day\u201d: Creative Pedagogy as a Site of Epistemic Intervention"],"prefix":"10.22501","author":[{"family":"CV, LL","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:04Z","timestamp":1784282224000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4226444\/4226445"}},"issued":{"date-parts":[[2026,3,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4226444","published":{"date-parts":[[2026,3,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:09:01Z","timestamp":1784286541459,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2014,8,7]],"date-time":"2014-08-07T00:00:00Z","timestamp":1407369600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,8,7]]},"abstract":"It is not uncommon to find a range of three full octaves in late eighteenth century and early nineteenth century bassoon repertoire, but passages ascending above b-flat' or c' were relatively rare. Composers active in Stockholm at the beginning of the nineteenth century such as Bernhard Crusell, Eduoard Dupuy, Franz Berwald and Eduard Brendler wrote pieces encompassing a range of Bb \u2013 to e-flat'', inspired by the Preumayr brothers, in particular the youngest, Frans Preumayr, who was an internationally known soloist and principal bassoonist in the Swedish Royal Orchestra from 1811\u20131835.In conjunction with my current PhD research in the docARTES program at Leiden University and the Royal Conservatoire in the Hague, dealing with early nineteenth century bassoon repertoire in Sweden, one of my goals was to discover the means of reaching these top notes and integrating them into a fluid technique which would enable historical bassoonists to perform this extraordinary repertoire composed for the virtuoso Preumayr. I wondered if the keys to the high register might be found in a special reed type, or a physical technique involving, for example, jaw position? Was Frans Preumayr's ability dependent on a particular model of bassoon? Or could other factors be involved that I hadn't yet considered?<\/jats:p>\n keywords: range, 19th century, register, bassoon, technique<\/jats:p>","DOI":"10.22501\/koncon.87114","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:50:09Z","timestamp":1725907809000},"source":"Crossref","is-referenced-by-count":0,"title":["Searching for the Top Range in Early Nineteenth Century Bassoon Repertoire from Sweden: Issues of Material and\/or Technique?'"],"prefix":"10.22501","author":[{"family":"Donna Agrell","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:59:49Z","timestamp":1784285989000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/87114\/87115"}},"issued":{"date-parts":[[2014,8,7]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/koncon.87114","published":{"date-parts":[[2014,8,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:28Z","timestamp":1784286448642,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,6,2]],"date-time":"2020-06-02T00:00:00Z","timestamp":1591056000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,2]]},"abstract":"Many classical musicians can suffer from tension and nervousness during solo performance. This research looks at how practicing improvisation and creative body movement, as well as creating one\u2019s own performance together with a dancer, can affect the feeling of freedom and enjoyment on stage.The researcher explored a way to find her own voice. By practicing free improvisation she explored new possibilities of her playing and expression as she searched for freedom and development of creativity. This resulted in a generally more free and involved feeling on stage. In addition, body movement courses helped her to be more aware of her body on stage, resulting in a better sound quality.A project was created to address the question of how to create one\u2019s own performance that comes from the performers own voice. The project created was based on the poem Woman Inhabited by Words by Guisela Lopez \u2013 a poem that was very meaningful to the researcher. In the performance she improvised on the viola; the sound is modified by a computer, and at the same time a contemporary dancer improvised on the music.In this way, the researcher combined her love of dance and of playing music to find a new depth in her performance and performance experience.<\/jats:p>\n keywords: Beyond Discipline<\/jats:p>","DOI":"10.22501\/koncon.792184","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:41:33Z","timestamp":1725907293000},"source":"Crossref","is-referenced-by-count":0,"title":["How can I find my own voice through my instrument"],"prefix":"10.22501","author":[{"family":"Julia Casa\u00f1as Cast","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:42:48Z","timestamp":1784284968000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/792184\/792185"}},"issued":{"date-parts":[[2020,6,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.792184","published":{"date-parts":[[2020,6,2]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:28Z","timestamp":1784286448662,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2019,10,25]],"date-time":"2019-10-25T00:00:00Z","timestamp":1571961600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,10,25]]},"abstract":"The 34 Duetti of Luciano Berio were inspired by the 44 Duos of Bart\u00f3k. Just as Bart\u00f3k intended to introduce young musicians to his style, so did Berio attempt the same. Berio's focus however, was on finding a more modern set of techniques and colors that the violin could create, and he used these pieces for children to illustrate his own ideas of theater and dramaturgy in music. Because his ideas of theater consist of putting two completely different ideas together to make a third reality, the 1st and 2nd violin parts in his duets often sound as if they are in totally different worlds \u2013 with different dynamics, tone colors, and sometimes even tempi. This results in a novel approach to chamber music in which each partner is equal, but also very independent of the other. A beginning student can therefore contribute just as much musical value to a piece (indeed, sometimes much more) than a seasoned professional. Since Berio doesn't specify the level or age that the student needs to be in order to play these pieces, this allows for a lot of freedom in the choice of performers. The same piece can sound totally different if performed by two professionals, two young students, or one young student and one professional.Additionally, each duet is dedicated to a friend, musician, or person that Berio admired, and can be likened to a musical portrait. Berio said that the pieces were inspired by the \u201cfragile thread of daily occasions\u201d and therefore the pieces are not true portraits, but sometimes illustrations of an event which happened, a shared history between Berio and the dedicatee, or as in the case of Stravinsky, Bart\u00f3k, or Boulez, an homage to a piece composed by that composer.Finally, the Duetti serve not only to introduce young musicians to Berio's style, but the full performance of the 34 duets is also a great introduction of 20th century musical concepts to audiences. Since each duet is very short, there is much variety in a performance of the works, and since each duet focuses on one or two 20th century techniques while still staying in a very familiar tonal world, audiences can be challenged while still maintaining a handhold on familiar territory.<\/jats:p>\n keywords: Luciano Berio, B\u00e9la Bart\u00f3k, Violin Duos, performance, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/koncon.558624","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:42:28Z","timestamp":1725907348000},"source":"Crossref","is-referenced-by-count":0,"title":["Berio violin duets - an introduction"],"prefix":"10.22501","author":[{"family":"Joseph Puglia","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:44:17Z","timestamp":1784285057000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/558624\/558625"}},"issued":{"date-parts":[[2019,10,25]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.558624","published":{"date-parts":[[2019,10,25]]}},{"indexed":{"date-parts":[[2026,7,24]],"date-time":"2026-07-24T23:58:13Z","timestamp":1784937493183,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Soundmaps have captured the imagination of acoustic communities, libraries and radio stations alike. These interactive maps have placed soundscape collections and research in a more public and interactive space than ever before. However, does this new form reflect some of the polarizations of past sound projects or are there new fractures to be considered, such as gender, economy and the domestic\/public divide? This paper will reflect upon the challenges and hierarchies that have developed alongside this new medium and will begin to critique and question this new form of sound engagement.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.214583","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:58Z","timestamp":1733131558000},"source":"Crossref","is-referenced-by-count":4,"title":["SOUNDMAPPING: Critiques And Reflections On This New Publicly Engaging Medium"],"prefix":"10.22501","author":[{"family":"Jacqueline Waldock","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:43:41Z","timestamp":1784288621000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/214583\/214584"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.214583","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995514,"version":"3.55.0"},"posted":{"date-parts":[[2021,9,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,9,21]],"date-time":"2021-09-21T00:00:00Z","timestamp":1632182400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/Public_domain"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"E-textile sensor sketch project<\/jats:p>\n keywords: Water, light<\/jats:p>","DOI":"10.22501\/rc.1369360","type":"posted-content","created":{"date-parts":[[2021,9,28]],"date-time":"2021-09-28T21:06:33Z","timestamp":1632863193000},"source":"Crossref","is-referenced-by-count":0,"title":["Water Lily"],"prefix":"10.22501","author":[{"family":"Magdalena Maria Miazga","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:01Z","timestamp":1784282401000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1369360\/1369359"}},"issued":{"date-parts":[[2021,9,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1369360","published":{"date-parts":[[2021,9,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:05Z","timestamp":1784283005548,"version":"3.55.0"},"posted":{"date-parts":[[2023,5,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,5,31]],"date-time":"2023-05-31T00:00:00Z","timestamp":1685491200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The main question around this research paper is how can we translate ambiances? This ungraspable \u2018something\u2019? What is our relationship with the atmosphere of spaces that brings out our emotional state? Can we characterize atmospheres by simply giving them names? Giving them a place for their selves to develop.I researched six certain atmospheres, Masculinity, Sound, Death, Warmth, Lust, and Serenity. They are the ones that I went through most recently before writing this research paper. I wanted them to all come together and hopefully come across an answer on how they might be useful in day-to-day life as an artist in creating art, but also in general, can we understand each other better while talking about them? They are unseen yet as important as our imagination. Hoping for a translation of the ungraspable \u2018something\u2019. Into moments of poetry and storytelling to get a grip on where they touch each other. Giving them a platform\/to create a world where atmospheres\/ambiances are more visible. To have conversations with them to create an understanding of what they mean. And how they would look like. Along the way I figured, one can not stand on one\u2019s self, they are all in need of the other. Which seems like a reflection of our reality.<\/jats:p>\n keywords: Ambiances, Atmomsphere, Masculinity, Sound, Death, Warmth, Lust, Serenity<\/jats:p>","DOI":"10.22501\/rc.2177731","type":"posted-content","created":{"date-parts":[[2023,5,31]],"date-time":"2023-05-31T08:08:48Z","timestamp":1685520528000},"source":"Crossref","is-referenced-by-count":0,"title":["Hugging Atmospheres"],"prefix":"10.22501","author":[{"family":"Elena Mooibroek","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:30Z","timestamp":1784282370000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2177731\/2177732"}},"issued":{"date-parts":[[2023,5,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2177731","published":{"date-parts":[[2023,5,31]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:52Z","timestamp":1784282932405,"version":"3.55.0"},"posted":{"date-parts":[[2025,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,20]],"date-time":"2025-11-20T00:00:00Z","timestamp":1763596800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research explores the integration of the saxophone and its extended techniques with tape to address environmental issues, focusing on drought in Po River, Italy. Motivated by the severe drought that occurred in 2022 and the natural disasters that occurred the following years later in the region, the research aims to raise awareness of climate change through the creation of a piece for saxophone and tape.The methodology used includes a combination of score and recordings analysis, interviews, case studies, and self-experimentation. The main sources that shaped the research include the analysis of pieces such as Earth and the Great Weather by John Luther Adams and The Great Animal Orchestra Symphony by Bernie Krause and Richard Blackford, along with the self-experimentation with saxophone extended techniques found in Mysterious Morning III by Fuminori Tanada. These works initiated the exploration of integrating natural sounds into music. Additionally, the analysis of the performance SO Rude, SO Fragile by Massimiliano Vizzini provided valuable insights into the development of a structured improvisation, combining solo instrumental music with tape. Finally, interviews with experts such as Porter Ellerman,Tim Kliphuis, and Agnese Valmaggia provided further perspectives on how music can incorporate environmental issues, offering important insights on the integration of activism and music.The research outcomes include two interventions focused primarily on field recordings and saxophone, a third intervention that introduces speech-based media to enhance the sonic and narrative theme, and a final composition that synthesizes the findings of the entire two-year research process.This final outcome represents the culmination of all gathered insights: a piece that combines tape with live saxophone performance and extended techniques, with the focus on the climate crisis and a particular emphasis on the Po River and the theme of drought.<\/jats:p>\n keywords: Saxophone, tape, drought, river Po, piece, extended techniques<\/jats:p>","DOI":"10.22501\/rc.4003065","type":"posted-content","created":{"date-parts":[[2025,11,20]],"date-time":"2025-11-20T20:45:50Z","timestamp":1763671550000},"source":"Crossref","is-referenced-by-count":0,"title":["Un Po di musica"],"prefix":"10.22501","author":[{"family":"Martina Madini","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:32Z","timestamp":1784282252000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4003065\/4003064"}},"issued":{"date-parts":[[2025,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4003065","published":{"date-parts":[[2025,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977711,"version":"3.55.0"},"posted":{"date-parts":[[2025,4,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T00:00:00Z","timestamp":1745280000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A project of three countries working with youngsters to bring an artivistic theatre to life.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2338509","type":"posted-content","created":{"date-parts":[[2025,4,22]],"date-time":"2025-04-22T06:02:20Z","timestamp":1745301740000},"source":"Crossref","is-referenced-by-count":0,"title":["Manifesto"],"prefix":"10.22501","author":[{"family":"Tereza Strmiskov\u00e1","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Silvia Diveky","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:11Z","timestamp":1784282291000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2338509\/2364939"}},"issued":{"date-parts":[[2025,4,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2338509","published":{"date-parts":[[2025,4,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:02Z","timestamp":1784283002355,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"31","license":[{"start":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T00:00:00Z","timestamp":1703116800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,12,21]]},"abstract":"In recent decades, digital technology has accelerated the development of new musical instruments, not only establishing new techniques for creating sound but also enabling new performance practices. From the perspective of the performer, this has significantly broadened their possibility to express themselves, but through earlier experimentations it has become clear to me that audiences have problem comprehend such use of new musical instruments. In a traditional setting, when an artist performs with an instrument the audience can build on their cumulative experience and knowledge to evaluate the skill of an artist. With new experimental instruments such a strategy to understand a performance is not possible. This text describes my work with the dance performance Sound of Silence, and the creation of a device called the Looping Camera. Base on previous experience from using sensor technology in musical performances combined with theories and about the listeners position, we tried find a new approach to the creation of new sound producing devises that could overcome earlier problems with audience comprehension. With our work we tried to create a device that, even if it was largely unfamiliar for the audience, could establish a sense of meaning for the audience by including references to non-musical media technology. This performance also resulted in the developing of an analytical concept, that of \u201csonic tools\u201d, that is meant to draw attention to the aesthetics of new an unfamiliar instrument through liberating such tools from the dichotomy of musical vs- nonmusical sounds.<\/jats:p>\n keywords: sound art, music, musical instruments, aesthetics, dance, musical cognition, R. Murray Schafer, DANCE PERFORMANCE, digital technologies, sonic tool<\/jats:p>","DOI":"10.22501\/jar.1282234","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T11:39:31Z","timestamp":1703158771000},"source":"Crossref","is-referenced-by-count":0,"title":["Performing with Sonic Tools. An approach to designing and analysing new instruments"],"prefix":"10.22501","author":[{"family":"Gaute Barlindhaug","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:01Z","timestamp":1784282401000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282234\/1938920"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"journal-issue":{"issue":"31"},"URL":"https:\/\/doi.org\/10.22501\/jar.1282234","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023066,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T00:00:00Z","timestamp":1622592000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The pandemic saw a series of collapses, especially within the diverse economies. As people went through losses of businesses and jobs, the anxiety around staying afloat led to a series of instances where agile entrepreneurships to emerge.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1271833","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:14:36Z","timestamp":1684746876000},"source":"Crossref","is-referenced-by-count":0,"title":["Agile Entrepreneurships"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:12Z","timestamp":1784282412000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1271833\/1271834"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1271833","published":{"date-parts":[[2021,6,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:16Z","timestamp":1784369056365,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,1,24]],"date-time":"2019-01-24T00:00:00Z","timestamp":1548288000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2019,1,24]]},"abstract":"This essay is about risk in artistic research. It is about obstacles and turning points; a shift away from the familiar and move towards an unfamiliar terrain. It begins on a boat, heading to the North of Norway, in the darkness. December 2012 is when I turn away from a media art practice and move towards a more socially-engaged, activist way of working. I depart from Bergen; eventually arriving in Madrid, in the middle of an eviction crisis. Along the journey, I will invite various people to think with me, which takes the work in unplanned and unintended directions. I understand risk in the sense of \u2018staying with the trouble\u2019 (Haraway) until it becomes quite clear what is at stake. It is the risk we will take in finding meaning, by trying to locate the means to exist in and act on the present.<\/jats:p>\n keywords: collaborative processes, essayistic journal, artistic research, art practice, Challenges, mapmaking, Storytelling, stipendiater, methodology<\/jats:p>","DOI":"10.22501\/vis.504141","type":"journal-article","created":{"date-parts":[[2019,12,14]],"date-time":"2019-12-14T12:08:18Z","timestamp":1576325298000},"source":"Crossref","is-referenced-by-count":0,"title":["A Few Notes on Getting Lost (Once Again)"],"prefix":"10.22501","author":[{"family":"Michelle Teran","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:16:53Z","timestamp":1784366213000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/504141\/504142"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/vis.504141","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2019,1,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:55Z","timestamp":1784289835679,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T00:00:00Z","timestamp":1558569600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"Exploring a case of a historian collaborating with dance makers on the contemporaneity evident in a past work, this exposition outlines how the corporeal methods of dance practice can assist a historian in their archival inquiry just as the historian's methods can subvert dominant ways of understanding re-performance of past dance. Interest in how past performances survive and are made to re-signify in the present and what is the role of the archive in a performing art are growing trends in both dance and performance scholarship and in performance practice. Drawing from this scholarship and critical performances, I distinguish between reconstruction (re-creation of dance from the archive) and re-imagining (working from the present practice towards corporeal relationship to past dance) to argue that any performance holds potential to uphold and conserve as well as question and subvert predominant histories of the art form. In contrast to theories of performance that juxtapose performance with history, repertoires with archives, I argue that it is possible to perform the epistemological questions through emphasis on what is not known. The practical exercises used in the studio and the strategies in the performance of Jeux: Re-imagined (2016) offer one example of destabilizing earlier claims to knowledge about a historical work. The seven pages of this exposition follow the structure of the seven events of the performance.<\/jats:p>\n keywords: epistemology, contemporary dance, studio research, dance history, archive, repertoire, scenarios, re-performance, reconstruction, re-imagining, re-making, not-knowing<\/jats:p>","DOI":"10.22501\/ruu.520080","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T07:36:06Z","timestamp":1558596966000},"source":"Crossref","is-referenced-by-count":0,"title":["Re-imagining: A Case Study of Exercises and Strategies"],"prefix":"10.22501","author":[{"family":"Hanna J\u00e4rvinen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:14:52Z","timestamp":1784286892000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/520080\/521401"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.520080","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:49Z","timestamp":1784286229906,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","license":[{"start":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T00:00:00Z","timestamp":1594857600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,7,16]]},"abstract":"This exposition presents the artistic research project \u2018Exploring the Efficiency of Artistic Practices within the Context of their Interaction\u2019, which examines the ways in which artistic practices interact with one another. It understands practices as the organised media and structures through which a researcher is able to initiate and continue the process of environmental constitution, the embodied process through which the world emerges as meaningful for and with us. The project is situated within the context of a phenomenological approach to consciousness and sense-making. It demonstrates the potential of artistic practices as phenomenological methods; practices not merely for the creation of art but as vehicles for investigation into human experience. The exposition is separated into two sections:The first section attempts to present\u2014that is, to make present\u2014the environment as constituted by the researcher through his engagement with the four main artistic practices; descriptive writing, auditory diagramming, sketching and composing. As part of these practices, the initial engagement with the researcher's surroundings was established through the practices of listening and hearing - making this a primarily aural undertaking. The artefacts are given to the reader in a way that hopes to facilitate desired conditions in which the researcher\u2019s perceived environment becomes present. The artefacts relate directly to the practices which allowed the researcher\u2019s understanding of his environment, and are therefore powerful objects, which may allow the reader to come into contact with the same dynamics that allowed the environment to appear in the first place. The second section contains a reflective text which looks back on this process of environmental constitution in an attempt to understand the role of each artistic practice within the context of their interaction. It also contextualises the project within the framework of artistic research, by understanding the artistic practices not only as methods for art creation, but also as mediators of human experience, and therefore as tools for understanding the way the world emerges with us. The text, therefore, simultaneously addresses the idea of consciousness as an enactive process, one which sees a blurring of agency between researcher, practice and environment. The reflection is split into two sections, each referring to two different phases of research: the first, an open and generative approach to the engagement of the practices. The second, a pre-determined and deliberate structure for this engagement.<\/jats:p>\n keywords: phenomenology, artistic, artistic practices, enactive cognition<\/jats:p>","DOI":"10.22501\/jar.388872","type":"journal-article","created":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T11:46:32Z","timestamp":1594899992000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring the Efficiency of Artistic Practices within the Context of their Interaction"],"prefix":"10.22501","author":[{"family":"Andrew Miller","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:03Z","timestamp":1784282883000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/388872\/654947"}},"issued":{"date-parts":[[2020,7,16]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jar.388872","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2020,7,16]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:12Z","timestamp":1784369052973,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2020,3,2]],"date-time":"2020-03-02T00:00:00Z","timestamp":1583107200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,3,2]]},"abstract":"The project \u2019Demmin \u2013 eine Stadt zum Klingen bringen\u2019 (\u2019Demmin \u2013 letting a city sound\u2019) explores the history and stories of the German city of Demmin in a dialogue between the local choir, Peenechor, and the site of Haus Demmin. During a two-week workshop the choir and Mareike Dobewall explored how to vocalise other stories, of the inhabitants of Demmin and the two decaying buildings known collectively as Haus Demmin (the ruins of an 11th century fortress and a former mansion). In a sonic dialogue between ageing voices and decaying architecture a vocal performance in the open air was created. Stories, history and fairy tales took new shape through vocal music, and un-listened sound was given presence. The site-determined performance allowed for the memory and the imagination of the visitors and the participants to rise up and become a part of a holistic experience.<\/jats:p>\n keywords: fluid architecture, music, choir singing, Germany, History, community, Spaces, decay, ageing, sound, memory, imagination, sonic placemaking, other stories, voice, listening, air, storytelling<\/jats:p>","DOI":"10.22501\/vis.635133","type":"journal-article","created":{"date-parts":[[2020,3,2]],"date-time":"2020-03-02T08:12:20Z","timestamp":1583136740000},"source":"Crossref","is-referenced-by-count":0,"title":["Demmin \u2013 letting a city sound"],"prefix":"10.22501","author":[{"family":"Mareike Nele Dobewall","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:15:56Z","timestamp":1784366156000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/635133\/672896"}},"issued":{"date-parts":[[2020,3,2]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/vis.635133","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2020,3,2]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:23Z","timestamp":1784286443469,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,10,27]],"date-time":"2021-10-27T00:00:00Z","timestamp":1635292800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,10,27]]},"abstract":"What than is music? \u2013 Music is language.\u2019 Composer Anton Webern was quite outspoken in 1932 : 'A human being wants to express thoughts in this language, but not a thought that can be transferred into an idea, but only into another musical thought.\u2019 Almost sixty years later composer Wolfgang Rihm isn\u2019t sure whether music is a language but states in his speech 'Was \u2018sagt\u2019 Musik\/ What does music \u2018say\u2019?:\u2019 if music is saying something, than the first what is addressed to us is: speak! Music wants to make us speak. That\u2019s what music says!\u2019That raises the question whether music can be referential or carry meaning just as language can. A question that has made many speak and filled libraries of studies. Cognitive psychologist Aniruddh D. Patel writes in 2008: \u2018A natural place to turn for help in defining musical meaning is the work of music theorists and philosophers of aesthetics\u2019. After summing up a dozen publications on the topic since Webern made his statement, Patel reports: \u2018No consensus has emerged from these writings for a definition of musical meaning.\u2019There is a lot of evidence in linguistics that qualities attributed to musicality contribute to language being the carrier of meaning. So what about the other way around? Can language help to understand what is experienced as meaningful in music?Language itself is an indicator that qualities inherent to language are often given to music. In German the word Interpret is used for instrumentalists performing music. The Dutch language has the word zeggingskracht that attributes power to music. 'Zegging-\u2019 stems from the verb zeggen (to say), \u2018kracht\u2019 means power. Zeggingskracht was one of the three criteria to assess the work of composers by the Fund for the Creation of Music (Fonds voor de Scheppende Toonkunst ) in The Netherlands. When the power to speak is inhibited and people stammer or lose their speech suffering from aphasia, it has been said that \u201conly music, can do the calling.\u201d And it\u2019s almost a clich\u00e9 to say that music can express what can\u2019t be given words.Music is not a language but often sounds like one. What do musicians that are \u2018speaking\u2019 that music have to say about meaning in music, singing, performing or creating what composer Louis Andriessen describes as \u2018talkative\u2019 music? Or the stammering that composer Gy\u00f6rgy Kurt\u00e1g calls his mother language? How do musicians give words to those moments when their music does the talking?What is the word is the last text that Samuel Beckett completed at the end of his life when through a stroke he periodically suffered from the disability to finds words, commonly diagnosed as aphasia. The Irish author inspired many to explore the zeggingskracht of music. Precise as he was, Beckett left out a question mark in the title, both in the original French version of Comment dire and in his English translation. That the title of Samuel Beckett\u2019s last text is not posing a question but may provide us with an answer, is the hypothesis of this research.<\/jats:p>\n keywords: speaking, Samuel Beckett, Gy\u00f6rgy Kurt\u00e1g, meaning of music, language<\/jats:p>","DOI":"10.22501\/koncon.1251747","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:39:33Z","timestamp":1725907173000},"source":"Crossref","is-referenced-by-count":0,"title":["What is the word"],"prefix":"10.22501","author":[{"family":"Renee Jonker","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:37:57Z","timestamp":1784284677000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1251747\/1251746"}},"issued":{"date-parts":[[2021,10,27]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1251747","published":{"date-parts":[[2021,10,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:47Z","timestamp":1784283047727,"version":"3.55.0"},"posted":{"date-parts":[[2017,1,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2017,1,10]],"date-time":"2017-01-10T00:00:00Z","timestamp":1484006400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The recording \"V. (Bach)\" (\u00d8ra Fonogram, 2016) is the artistic outcome of my research project \"Transcribing Johann Sebastian Bach's Lute Music For Guitar Bouzouki\" (2015)[1]. I've slowly arrived at a personal way of playing this material, simplified to fit my small, four-course guitar, and I've tried to maintain a Nordic folk music approach throughout. Some music written for other instruments has been added as well. Consequently, the results deviate quite a bit from the direction of the process documented earlier, and things have kept changing even after the recording, which took place in August of 2016. These sheets and tablatures correspond as closely as possible to the music on the record, which is accessible through the most common streaming and download services. The conventional sheet music attempts to show what my arrangements actually sound like, irrespective of instrument, but with significant visual simplifications that belie polyphonic richness; this particularly concerns the duration of bass notes, and individual voice-leading within the music. The ear will hopefully compensate for this when the music is sounded. The tablatures, on the other hand, start from my default tuning (bottom to top F - C - G - D), occasionally using a capo to alter the keys, which adhere to Bach's original ones (I use the capo to maintain access to open strings, an important feature in traditional fiddle music). If you play an instrument within the CBOM (Cittern-Bouzouki-Mandolin) family of plucked folk instruments, the tablatures can work with the fingerings represented here in whichever key you find suitable, or maybe you even have access to the tunings listed here on a different part of your instrument than I do - if, say, you play a five-course instrument.The important thing is to work in an essentially fifths-based tuning. Some of the movement titles are Norwegian-language approximations that are commonly in use among musicians in my part of the world. - - - Arranged and performed by Andreas AaseProduced by Jo Ranheim and Andreas AaseMastered by Karl KlaseieAll work conducted at \u00d8ra Studio, TrondheimSupported by Nord Universitet, Levanger, Norway [1] https:\/\/www.researchcatalogue.net\/profile\/show-exposition?exposition=85891<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.304245","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:53:10Z","timestamp":1498053190000},"source":"Crossref","is-referenced-by-count":0,"title":["V. Bach - Sheets and tablatures"],"prefix":"10.22501","author":[{"family":"Andreas Aase","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:56Z","timestamp":1784282456000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/304245\/304246"}},"issued":{"date-parts":[[2017,1,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.304245","published":{"date-parts":[[2017,1,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:20Z","timestamp":1784283020752,"version":"3.55.0"},"posted":{"date-parts":[[2013,6,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2013,6,1]],"date-time":"2013-06-01T00:00:00Z","timestamp":1370044800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Trailing some issues with uploads and audio transcoding<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.26854","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:27Z","timestamp":1498053327000},"source":"Crossref","is-referenced-by-count":0,"title":["Testing audio uploads"],"prefix":"10.22501","author":[{"family":"Paul Draper","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:07Z","timestamp":1784282467000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/26854\/26855"}},"issued":{"date-parts":[[2013,6,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.26854","published":{"date-parts":[[2013,6,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:35Z","timestamp":1784286515239,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,7,6]],"date-time":"2017-07-06T00:00:00Z","timestamp":1499299200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,7,6]]},"abstract":"AbstractTitle of Research: Violin education in middle childhood.Research Question: How can an optimal musical and violinistic development be achieved in the teaching of children in middle childhood?Summary of Results:In middle childhood (7-11\/12 years) enter a new phase in the development of their cognitive functions, their motor skills and social behaviour. In this research I investigate how these developments should be understood from the perspective of violin teaching to children in this age group and how these developments can be used by the teacher to the benefit of their education to become all-round violinists and musicians.For this research I studied the relevant literature in the field of development psychology and the training of young talents and I compared the scholarly theories and insights with my personal experience as a violin and violin methodology teacher of more than 20 years. In this thesis I describe the great potential that violin teaching to children in middle childhood offers, provided that the teacher has a good understanding of the learning process of the child, a clear vision and long-term strategy for the teaching and tremendous patience. Central elements of this vision should be a clear overview and balanced approach of all the different elements that make an expert violinist and all-round musician, the flexibility to respond and adapt to the specific abilities and needs of each individual pupil and an approach that fully involves the child in his\/her own learning process.<\/jats:p>\n keywords: education, middle childhood, cognition, teaching, violin, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.234820","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:46:46Z","timestamp":1725907606000},"source":"Crossref","is-referenced-by-count":0,"title":["Violin education in middle childhood"],"prefix":"10.22501","author":[{"family":"Koosje van Haeringen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:51:56Z","timestamp":1784285516000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/234820\/360622"}},"issued":{"date-parts":[[2017,7,6]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.234820","published":{"date-parts":[[2017,7,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:42Z","timestamp":1784282982765,"version":"3.55.0"},"posted":{"date-parts":[[2024,12,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,12,11]],"date-time":"2024-12-11T00:00:00Z","timestamp":1733875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The central premise of this doctoral project is that the progressive cognitive ambiguity that is dementia can be creatively apprehended by way of lostness. As defined by Rebecca Solnit, \u2018lost\u2019 holds \u201c...two disparate meanings. Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing.\u201d The initial hypothesis of this research was that in certain neurodegenerative conditions the familiar and unfamiliar can confoundingly combine, and that it\u2019s through the lens of this particular combination that some comprehension of dementia as lived experience may be approached. The disorienting misperceptions most commonly encountered in cognitive decline are visual in nature. Given, then, that dementia reveals the importance of vision to perception, how may the photographic, with lostness as optic, be used to illuminate cognitive decline? In what ways can creatively visualising aspects of neurodegeneration in dementia inform understandings of its existential ambiguities?<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1862857","type":"posted-content","created":{"date-parts":[[2024,12,11]],"date-time":"2024-12-11T12:20:09Z","timestamp":1733919609000},"source":"Crossref","is-referenced-by-count":0,"title":["Picturing Clouds of Unknowing: Photography, Lostness, and Cognitive Decline"],"prefix":"10.22501","author":[{"family":"Lucy Carolan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:28Z","timestamp":1784282308000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1862857\/1862858"}},"issued":{"date-parts":[[2024,12,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1862857","published":{"date-parts":[[2024,12,11]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993710,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,9]],"date-time":"2023-06-09T00:00:00Z","timestamp":1686268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A short presentation for the subject \"Historical Development\" meant to excite a general audience about the double bass in different classical music scenarios.<\/jats:p>\n keywords: double bass, Presentation, Historical Development<\/jats:p>","DOI":"10.22501\/rc.2157193","type":"posted-content","created":{"date-parts":[[2023,6,9]],"date-time":"2023-06-09T05:01:22Z","timestamp":1686286882000},"source":"Crossref","is-referenced-by-count":0,"title":["Double Bass in the spotlight"],"prefix":"10.22501","author":[{"family":"Joost Slootbeek","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:27Z","timestamp":1784282367000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2157193\/2157194"}},"issued":{"date-parts":[[2023,6,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2157193","published":{"date-parts":[[2023,6,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024181,"version":"3.55.0"},"posted":{"date-parts":[[2020,10,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,10,21]],"date-time":"2020-10-21T00:00:00Z","timestamp":1603238400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Curated by Antonio Cataldo and Adri\u00e0 Juli\u00e0. Organised by Fotogalleriet, Oslo and KMD, University of Bergen. Throughout this three-day event, Adri\u00e0 Juli\u00e0's students at the University of Bergen will actively partake and lead discussionsPhoto-based books and self-publishing are a vital emancipatory motor of discussion bringing communities across space and time together. The intent of this conference is manifold; firstly it aims to look at the historical structures for production that enable a multiplicity of voices to speak from their subjective positions. Secondly, addressing the current modalities that give contemporary practitioners, designers and publishers advantages and limitations within the field. Thirdly it addresses the future of photo-based publications through grant systems.To rethink the current moment which is challenging existing structures and demanding systemic change, this seminar represents a desire to rethink the Nordic Photobook Award. Initially, Fotogalleriet ran the award from 2012\u201318 in order to accompany upcoming voices within the field by co-producing photobooks with chosen candidates.The seminar's ultimate goal is to evaluate relevant structures of support providing the possibility to continuously provoke theoretical and practical change.CONFIRMED SPEAKERS: Terje Abusdal, Abdul Halik Azeez, Heidi Bale Amundsen, Delphine Bedel, Bruno Ceschel, Paul Gangloff, Erik Gant, Hans Gremmen, Roberto Figliulo, Cosmo Gro\u00dfbach, Sohrab Hura, Kay Jun, Aglaia Konrad, Moritz Kung, Silja Leifsdottir, Hailey Loman, Catalina Lozano, Vijai Patchineelam, Bonaventure Soh Bejeng Ndikung, Anna-Kaisa Rastenberger, Mette Sandbye, Ursula Schulz-Dornburg, Ahlam Shibli, \u00c6sa Sigurj\u00f3nsd\u00f3ttir, Ina Steiner, Niclas \u00d6stlind, Stanley Wolukau-Wanambwa, and Antonio Z\u00fa\u00f1iga. With a discussion about Nordic funding with Anne Lise Stenseth (moderator), Tom Klev, Henri Terho, Annika Th\u00f6rn Legzdins, Klara \u00de\u00f3rhallsd\u00f3ttir and Tine Vindfeld.<\/jats:p>\n keywords: photography, photobooks, art, visual art, Art book<\/jats:p>","DOI":"10.22501\/rc.1021721","type":"posted-content","created":{"date-parts":[[2020,10,21]],"date-time":"2020-10-21T05:55:47Z","timestamp":1603259747000},"source":"Crossref","is-referenced-by-count":0,"title":["Photography Bound: Rethinking the Future of Photobooks and Self-publishing"],"prefix":"10.22501","author":[{"family":"Adria Julia","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:30Z","timestamp":1784282430000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1021721\/1021722"}},"issued":{"date-parts":[[2020,10,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1021721","published":{"date-parts":[[2020,10,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:13Z","timestamp":1784289853628,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2013,12,8]],"date-time":"2013-12-08T00:00:00Z","timestamp":1386460800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2013,12,8]]},"abstract":"In this liquid text\/sound, the act of recording breastfeeding is explored in terms of artistic research as machinic liminality and embodied listening. In line with Felix Guattari\u2019s notion of a machine as a prerequisite of technology, the highly intimate recording of neonatal nutrition is explored as an artistic inquiry, which is dependent on the interconnecting processes of the machinic assemblage (the coupling of a baby and a breast). Listening to breastfeeding through the headphones with a microphone touching the skin, produces a particular technology of recording that is noisy in its radical exclusion of other sounds, temporalities and spaces, as well as in its endless counter-oscillation and intrusiveness. The theoretical rhizomes of the article draw from the work of Luce Irigaray, Felix Guattari and Jean-Luc Nancy. The qualities of recording the breastfeeding are analysed through visceral parameters based on touch, embodied listening, and recording as a corporeal-political activity.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.31550","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:41Z","timestamp":1503635081000},"source":"Crossref","is-referenced-by-count":0,"title":["Those Lips Were Made to Suck that Button"],"prefix":"10.22501","author":[{"family":"Taina Riikonen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:21:21Z","timestamp":1784287281000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/31550\/31551"}},"issued":{"date-parts":[[2013,12,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ruu.31550","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2013,12,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:15Z","timestamp":1784290095544,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2016,7,18]],"date-time":"2016-07-18T00:00:00Z","timestamp":1468800000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,18]]},"abstract":"What \u201cwe\u201d as JSS editors had in mind was to make space for some \u201csubaltern voices,\u201d multi-media reports on Southeast Asian soundscapes preferably coming from (local) residents or people who have spent a considerable amount of time there, to find out whether they hear differently, whether they notice different things, different sounds; to find out whether they can bring in other concepts, enrich or change the common discourses in Sound Studies; to explore and bring to our attention what they find sonically relevant.<\/jats:p>\n keywords: sound, Sonic Studies, sound studies, south asian, auditory culture<\/jats:p>","DOI":"10.22501\/jss.286852","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:59Z","timestamp":1733131619000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial - Encounters With Southeast Asia Through Sound"],"prefix":"10.22501","author":[{"family":"Marcel Cobussen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:48:54Z","timestamp":1784288934000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286852\/286853"}},"issued":{"date-parts":[[2016,7,18]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.286852","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2016,7,18]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977044,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,3]],"date-time":"2026-02-03T00:00:00Z","timestamp":1770076800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Journalistic storytelling should move away from the hero narrative. Instead, drawing on Ursula K. Le Guin\u2019s Carrier Bag Theory, it should adopt a \u201ccarrier-bag\u201d perspective: to gather, carry, and connect\u2014collecting attentively, bringing home what matters, and linking insights through pencil-based drawing. Drawing becomes a journalistic method for deepened research. Through the nouvelle histoire (Annales School, longue dur\u00e9e) and the sculptural contrast between Rodin (monumental condensation) and Medardo Rosso (fragile appearance), the text shows how attention to everyday life, materiality, and in-between spaces generated new forms of relevance and helped initiate social shifts. Drawing is proposed as a research practice that makes complexity visible, marks uncertainty, and enables more peaceful, context-rich modes of storytelling in newsrooms and teaching.<\/jats:p>\n keywords: Ursula K. Le Guin, sketch&amp;draw, sketching, drawing, visual journalism, journalism<\/jats:p>","DOI":"10.22501\/rc.4154662","type":"posted-content","created":{"date-parts":[[2026,2,3]],"date-time":"2026-02-03T09:48:15Z","timestamp":1770112095000},"source":"Crossref","is-referenced-by-count":0,"title":["Why journalists need a carrier bag, not a spear"],"prefix":"10.22501","author":[{"family":"Tanja K. Hess","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:13Z","timestamp":1784282233000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4154662\/4154661"}},"issued":{"date-parts":[[2026,2,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4154662","published":{"date-parts":[[2026,2,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984511,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u0126udha is an exhibition curated by Matthew Galea and Julia Galea. Splendid, Valletta, 2019<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4294966","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:38:23Z","timestamp":1774445903000},"source":"Crossref","is-referenced-by-count":0,"title":["\u0126udha"],"prefix":"10.22501","author":[{"family":"Matthew (Matyou) Galea","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:51Z","timestamp":1784282211000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4294966\/4294967"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4294966","published":{"date-parts":[[2026,3,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:46Z","timestamp":1784286526857,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,7,19]],"date-time":"2017-07-19T00:00:00Z","timestamp":1500422400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,7,19]]},"abstract":"Pedal points and drones are present in almost all musical genres and styles. Although they appear in a whole variety of ways, and can have very diverse effects, music analysis rarely pays attention to these differences. The reason is, perhaps, that there are no defined concepts that would provide vocabulary to both describe and understand the power of sustained notes. My first research question addresses the \u2018working\u2019 of pedals and drones:How can we explain the perceptual difference among instances of pedal tones and drones? In searching for the right perspective to tackle this question I have come to two concepts that inspired the further research. The first is the concept of expectation. It is mostly promoted by the writings of Leonard B. Meyer (in the more recent time it is researched and developed by others), which I take as conceptual frame. The second is the concept of interactions that defines and organizes the musical events. The inspiration for the latter came from the social studies. The two concepts are interrelated: the expectation is a product of interactions of musical elements, and the expectations are also involved in interactions, thereby influencing the perception and understanding of a musical piece. My following research questions are:Could the concept of musical expectation and the concept of interaction help explain the power of long notes? If yes, in which ways can these processes influence the perception of pedals and drones?In the process of research, I have concluded that there are several categories of pedals\/drones that are not labeled in music theory but are recognizable by many music theorists and musicians. Pointing at these categories and defining them could provide us with more words in pedal\/drone-vocabulary. On the other hand, in case these models are recognizable as such, they have the potential to engage in various interactions with the other musical events in the piece, influencing the listener\u2019s understanding of it. From this perspective, it is relevant to examine them. The current research aims at pointing at a number of such models. To define them, I have used the concepts of expectations and interactions. Music analysis of the chosen models and a number of musical fragments are so presenting the practical application of my theoretical research.<\/jats:p>\n keywords: pedal, drone, pedal\/drone models, interaction, expectation, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.231816","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:46:32Z","timestamp":1725907592000},"source":"Crossref","is-referenced-by-count":0,"title":["The Power of Long Notes"],"prefix":"10.22501","author":[{"family":"Ida Vujovi\u0107","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:51:38Z","timestamp":1784285498000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/231816\/231817"}},"issued":{"date-parts":[[2017,7,19]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.231816","published":{"date-parts":[[2017,7,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:17Z","timestamp":1784286497283,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,6,15]],"date-time":"2020-06-15T00:00:00Z","timestamp":1592179200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,15]]},"abstract":"The purpose of my Research is to explore why at the beginning of the XX\u00b0 century wind orchestras in different Countries in Europe sounded so singular and why nowadays the sound is so similar one to the other.Haven\u2019t found any book which speaks about this specific topic I decided to research about the subject hoping it will maybe be useful or interesting not only for my development as conductor\/musician but also to other people, be they conductors, composers, musicians or just wind orchestra music lovers.Above historical issues I will also include some artistic material such as examples, audio samples and scores which support the development of my Research.Special focus will be given to the analysis of a couple of significant original scores from the first decade of the XX\u00b0 century which will be the guide line throughout my research.<\/jats:p>\n keywords: 20th century, Wind Orchestra, repertoire, europe, Art of Interpretation<\/jats:p>","DOI":"10.22501\/koncon.409183","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:59Z","timestamp":1725907259000},"source":"Crossref","is-referenced-by-count":0,"title":["SOUND IDENTITY"],"prefix":"10.22501","author":[{"family":"Sara Maganzini","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:41:28Z","timestamp":1784284888000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/409183\/409184"}},"issued":{"date-parts":[[2020,6,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.409183","published":{"date-parts":[[2020,6,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:10Z","timestamp":1784286370041,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,5,16]],"date-time":"2023-05-16T00:00:00Z","timestamp":1684195200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,16]]},"abstract":"This research explores how the voice can be used creatively in large ensembles and bigbands. It is structured in five parts, starting with an introduction explaining my interest andpersonal connection to this topic. I then analyzed the work of composers and arrangers thatused vocalists in their large ensembles before me - for example Kenny Wheeler, JohnHollenbeck and Martin Fondse. There I looked at how they used vocalists in their works andfound that oftentimes, the voice still is used as a doubling part for the lead melody, butseldomly is used as an independent part in the arrangements.I then moved on to analyzing my own compositions I\u2019ve written for a vocal section and largeensemble. I saw that I unconsciously often used the same kind of arrangement style, anddrew a lot of conclusions for my future works out of this analysis. In part four, I compiled myresearch of others and my own work into a small handbook of arranging tools for big bandand voice section. With this, I want to inspire other composers and arrangers to write forvocalists in new and creative ways. After this, I concluded my research with a reflection andconclusion in the last part.In my presentation, I want to talk about my progress working with others and my own music,and the conclusions I drew out of it, as well as showing some examples of my analysis andthe handbook I wrote.<\/jats:p>\n keywords: Jazz Voice, big band, large ensemble, Arranging<\/jats:p>","DOI":"10.22501\/koncon.1865661","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:26Z","timestamp":1725907046000},"source":"Crossref","is-referenced-by-count":0,"title":["The Voice in Arranging - Rethinking the role of vocalists in big bands and large ensembles"],"prefix":"10.22501","author":[{"family":"Giulia B\u00e4ttig","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:32:18Z","timestamp":1784284338000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1865661\/1865662"}},"issued":{"date-parts":[[2023,5,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1865661","published":{"date-parts":[[2023,5,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:21Z","timestamp":1784283021415,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:00:00Z","timestamp":1759795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Afterlife of the Work: Viewer as Evidence in Post-Interpretive CriticismBy Dorian ValeThis essay presents one of the central epistemological pillars of Post-Interpretive Criticism (PIC): the concept of the viewer as evidence. Dorian Vale challenges the traditional hierarchy where the critic\u2019s interpretation takes precedence over the encounter itself, proposing instead that the afterlife of the artwork\u2014the residue it leaves in the viewer\u2014is its most truthful legacy. Rather than dissect the work, Vale observes what lingers after it is gone: silence, tremor, unease, reverence. These affective traces are not emotional accidents, but ethical data. The viewer\u2019s internal shift becomes testimony, and the absence of interpretation becomes its own kind of presence. Rooted in restraint and moral proximity, this essay reframes the act of viewing as sacred evidence collection. The artwork does not exist to be understood; it exists to be endured. And in that endurance, the viewer becomes witness, custodian, and echo. Vale, Dorian. The Afterlife of the Work: Viewer as Evidence in Post-Interpretive Criticism. Museum of One, 2025. DOI: 10.5281\/zenodo.17076535Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Post-Aesthetic Critic, Founder of Post-Interpretive Criticism, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Interpretive Restraint, Witness over interpretation, Radical art restraint, Quiet philosophy of art<\/jats:p>","DOI":"10.22501\/rc.3921531","type":"posted-content","created":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T20:15:00Z","timestamp":1759868100000},"source":"Crossref","is-referenced-by-count":0,"title":["The Afterlife of the Work: Viewer as Evidence in Post-Interpretive Criticism"],"prefix":"10.22501","author":[{"family":"DORIAN VALE","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:49Z","timestamp":1784282269000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921531\/3921530"}},"issued":{"date-parts":[[2025,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921531","published":{"date-parts":[[2025,10,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:39Z","timestamp":1784368959744,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2019,11,6]],"date-time":"2019-11-06T00:00:00Z","timestamp":1572998400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2019,11,6]]},"abstract":"The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico Garc\u00eda Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc\u2019s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet\u2019s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc\u2019s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are \u2018to the memory of\u2019 the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a \u2018survivor\u2019s anguish\u2019, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet\u2019s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the \u2018Trois Chansons de Federico Garc\u00eda Lorca\u2019. This exposition attempts to unfold aspects of the two men\u2019s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc\u2019s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer\u2019s works, especially his cycle setting poems of Guillaume Apollinaire: \u2018Calligrammes\u2019. Composed a year after the \u2018Trois Chansons de Federico Garc\u00eda Lorca\u2019, this intricately wrought collection of seven m\u00e9lodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of \u2018unheard voices\u2019 and \u2018unseen shadows\u2019 enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.621671","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T08:08:27Z","timestamp":1618301307000},"source":"Crossref","is-referenced-by-count":0,"title":["The unheard voice and the unseen shadow"],"prefix":"10.22501","author":[{"family":"Jeremy Cox","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:04:43Z","timestamp":1784365483000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/621671\/621672"}},"issued":{"date-parts":[[2019,11,6]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.621671","published":{"date-parts":[[2019,11,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:35Z","timestamp":1784282975931,"version":"3.55.0"},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition contextualises a set of artworks that reflect on the notion of error - both scientific and political - and the epistemological implications of partisanship. The artworks juxtapose diverse historical contexts, which might or might not share actual causal linkages.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.3106","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:20Z","timestamp":1497983840000},"source":"Crossref","is-referenced-by-count":0,"title":["Thanks to Lysenko, we got Haldane"],"prefix":"10.22501","author":[{"family":"Abhishek Hazra","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:26Z","timestamp":1784282186000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3106\/3107\/100\/100"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.3106","published":{"date-parts":[[2011,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:07Z","timestamp":1784286247383,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2018,4,10]],"date-time":"2018-04-10T00:00:00Z","timestamp":1523318400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2018,4,10]]},"abstract":"It is possible to bring socio-politically engaged practices into the realm of the commons. These practices I have grouped under the umbrella of allodoxic art, a term defined in the first section of this exposition. Allodoxic art provides a way of bringing into focus the social movement struggles that have shaped the discourse across social and environmental justice, embracing the total contribution of individuals\u2019 artistic forms and active citizenship.\u00a0French sociologist Pierre Bourdieu (1930\u20132002) recuperates the concept of allodoxia that was first used by the Greek philosopher Plato\u00a0(427\u2013347 BC) to describe false beliefs arising from misrecognition. The word allodoxia derives from two Greek words\u00a0allo\u00a0referring to a mixture, and\u00a0doxa\u00a0meaning practices or teachings. An understanding of his use of allodoxia can equip artists with a tool to map pre-allodoxic tactical actions for unfolding allodoxic interventions that target and impact upon privileged space. Such interventions can maintain and expand the commons as embedded policy and programs, rights, and community-led initiatives. The commons are theorised here not merely as a passive legacy, but as a stake to be claimed, insistently and programmatically, as a matter of collective urgency. The commons also refer to lost or new territory claimed for the protection or expansion of rights, on the one hand, and the common good and activism in general on the other.\u00a0I present several artwork examples that elucidate hegemonic social games, as well as others that demonstrating the connection between allodoxia and hegemony. These may act as access points for artists and intervention participants to understand how allodoxic interventions, as anti-hegemonic behaviour, contribute knowledge and skills to commoning processes. They may also, through the exploration and testing of tactics, help those processes gain traction and develop. These are drawn from the radical performative practice of German-born Baroness Elsa von Freytag Loringhoven (born Else Hildegard Pl\u00f6tz 1874\u20131927: henceforth Baroness Elsa) and my studio based works.\u00a0The theorisation of allodoxic art also draws from German political thinker Hannah Arendt (1906\u20131975), specifically her theoretical work on revolutions, which provides greater understanding of how and why we should take political actions against privileged space. As principles for allodoxic art, this work develops an analytical armature for judging the success of these tactics and to further develop these types of interventions.<\/jats:p>\n keywords: socio-politically engaged art, activism, allodoxia, allodoxic art, Baroness Elsa<\/jats:p>","DOI":"10.22501\/jar.386727","type":"journal-article","created":{"date-parts":[[2018,4,10]],"date-time":"2018-04-10T17:55:18Z","timestamp":1523382918000},"source":"Crossref","is-referenced-by-count":1,"title":["Exploring the Principles of Allodoxic Art (in dialogue with Baroness Elsa)"],"prefix":"10.22501","author":[{"family":"Jenny Brown","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:02Z","timestamp":1784283062000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/386727\/386728"}},"issued":{"date-parts":[[2018,4,10]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/jar.386727","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2018,4,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:58Z","timestamp":1784290078974,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T00:00:00Z","timestamp":1756339200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2025,8,28]]},"abstract":"PhD Candidate: Sidsel ChristensenProject title: INTERDIMENSIONAL ARTISTIC REFLECTION: Speculative movements through Spatial, Digital and Narrative MediaPeriod: 2020 - 2024Host institution: The Art Academy \u2013 Department of Contemporary Art, Faculty of Art, Music and Design, University of BergenPhD supervisors: Brandon LaBelle, Frans Jacobi and Sher Doruff<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/kmd-ar.2896638","type":"journal-article","created":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T09:00:46Z","timestamp":1756371646000},"source":"Crossref","is-referenced-by-count":0,"title":["INTERDIMENSIONAL ARTISTIC REFLECTION: Speculative movements through Spatial, Digital and Narrative Media"],"prefix":"10.22501","author":[{"family":"Sidsel Ditlev Christensen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:56:32Z","timestamp":1784289392000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2896638\/2896639"}},"issued":{"date-parts":[[2025,8,28]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.2896638","published":{"date-parts":[[2025,8,28]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:54Z","timestamp":1784369034537,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2021,3,15]],"date-time":"2021-03-15T00:00:00Z","timestamp":1615766400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,3,15]]},"abstract":"This exposition uncovers the thought process behind and around the artworks Haunted Houses and Cold Readings. I focus my research on the two modernist buildings of E1027 and Villa Mu\u0308ller and the architects behind them. Through the production of these works I have been concerned with how narratives about these houses have been constructed and re-told \u2013 and how these narratives have changed as they have been 'rehearsed'. I have applied the methodology of rehearsal to my process in order to outline how historical writings and archival research can be used with the aim of finding alternative outcomes to what has already been written and said.<\/jats:p>\n keywords: Rehearsal, Architecture, Eileen Gray, Adolf Loos, Le Corbusier, E1027, Villa Mu\u0308ller, Haunted houses, Archive, Mikrohistorier, Konstfack portal - peer reviewed<\/jats:p>","DOI":"10.22501\/vis.912739","type":"journal-article","created":{"date-parts":[[2021,3,14]],"date-time":"2021-03-14T19:09:17Z","timestamp":1615748957000},"source":"Crossref","is-referenced-by-count":0,"title":["Haunted houses"],"prefix":"10.22501","author":[{"family":"Emelie Carl\u00e9n","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:13:13Z","timestamp":1784365993000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/912739\/1063924"}},"issued":{"date-parts":[[2021,3,15]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/vis.912739","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2021,3,15]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:57Z","timestamp":1784368977703,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2025,10,21]],"date-time":"2025-10-21T00:00:00Z","timestamp":1761004800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,21]]},"abstract":"In the last days of June 2024 I learned something I would rather not know. Aware that the act of forgetting is something that often simply happens, I started a daily practice of checking if I could still remember what I would like to forget. The question I found myself asking as time passed and I failed is if the desire to remember is what makes us forget.orIn the last days of June 2024, I learned something I would rather not know. Something I wanted to forget. Aware that the act of forgetting is something that often simply happens, I start a daily practice: at the end of each day I sit down, stamp a date on a notebook page and take note: Do I still remember? I write using charcoal, a material that has little permanence. To work with charcoal is to constantly fight its desire to go away. Every night I take the time to see if I can still remember what I would like to forget. I know how to remember, I don\u2019t know how to forget. I do nothing to forget, I simply let time pass and register the presence of this thing I now know. I don\u2019t know how to actively forget, and I choose not to learn ways to do it. I wait for it to happen.As time passed and I failed, I found myself asking if the desire to remember is what makes us forget. I fail over and over again. I still remember.<\/jats:p>\n keywords: Memory, Forgetting, performance, drawing, repetition, time, durational performance, absence<\/jats:p>","DOI":"10.22501\/vis.3252996","type":"journal-article","created":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:03:38Z","timestamp":1760997818000},"source":"Crossref","is-referenced-by-count":0,"title":["mapping, forgetting and failure"],"prefix":"10.22501","author":[{"family":"Marcia Nemer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:06:37Z","timestamp":1784365597000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3252996\/3538651"}},"issued":{"date-parts":[[2025,10,21]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/vis.3252996","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,10,21]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:14Z","timestamp":1784369054420,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,1,24]],"date-time":"2019-01-24T00:00:00Z","timestamp":1548288000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2019,1,24]]},"abstract":"There is a fundamental enthusiasm and curiosity that drives our attitude towards experimentation. Free basic research is the fundament for all new apprehensions. Each production leads us into new landscapes. Experimentation is artistic immersion.The concept of risk and possible failure is a natural part of this experimentation.Without taking risk, art would remain stagnant, and the creative spirit would be wasted on our own fears.In this exposition we will elucidate some of the many fields of interest and tools for expression we have worked with during the development of our latest production \u2013 HANNAH \u2013 which premiered September 2017 at Henie Onstad Art Center in Oslo in connection with the Ultima Festival. In HANNAH Verdensteatret works with elaborate spatial compositions that provokes a state of absorption in an immersive audio-visual space. These compositions consists of material generated in an electronic feedback system. This material forms a sedimentation process that unfolds as a fixed attention towards exhaustion and the act of observing slow changes. Like a physical object slowly affect its surroundings. A production from Verdensteatret is a glimpse of a present, a state of transitions and passages through phenomenons. The present is a memory in motion. At the same time, there has never been so much past as right now.<\/jats:p>\n keywords: verdensteatret, Oppdagelse og navngivning, noe, process, HANNAH, syntaktisk, poesi, tid, geologisk, synestesi, discovery and naming, something, syntactic poesis, time, geological<\/jats:p>","DOI":"10.22501\/vis.500921","type":"journal-article","created":{"date-parts":[[2019,12,14]],"date-time":"2019-12-14T12:08:17Z","timestamp":1576325297000},"source":"Crossref","is-referenced-by-count":0,"title":["Oppdagelse og navngivning"],"prefix":"10.22501","author":[{"family":"Asle Nilsen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Niklas Adam","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Eirik Arthur Blekesaune","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Piotr Pajchel","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:16:48Z","timestamp":1784366208000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/500921\/500945"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/vis.500921","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2019,1,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977032,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Point and Shoot (2016) is an interactive sculptural situation. The project explores how digital technology can make sculpture aware of and reactive to its surroundings, expanding the practice into spatial and temporal dimensions. The title playfully references both the ease of modern \"point and shoot\" cameras and the traditional operation of firearms.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4166721","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T10:33:52Z","timestamp":1774434832000},"source":"Crossref","is-referenced-by-count":0,"title":["Point and Shoot"],"prefix":"10.22501","author":[{"family":"Matthew (Matyou) Galea","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:56Z","timestamp":1784282216000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4166721\/4166722"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4166721","published":{"date-parts":[[2026,3,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:48Z","timestamp":1784282988104,"version":"3.55.0"},"posted":{"date-parts":[[2019,12,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,12,17]],"date-time":"2019-12-17T00:00:00Z","timestamp":1576540800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Mariam KharatyanChapter 4 of 7: \"Interpreting Komitas' music\"<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.648729","type":"posted-content","created":{"date-parts":[[2019,12,17]],"date-time":"2019-12-17T11:58:09Z","timestamp":1576583889000},"source":"Crossref","is-referenced-by-count":0,"title":["Interpreting Komitas' music"],"prefix":"10.22501","author":[{"family":"Mariam Kharatyan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:40Z","timestamp":1784282440000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/648729\/648730"}},"issued":{"date-parts":[[2019,12,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.648729","published":{"date-parts":[[2019,12,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:06Z","timestamp":1784289846347,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2016,10,3]],"date-time":"2016-10-03T00:00:00Z","timestamp":1475452800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,10,3]]},"abstract":"V\u00e4it\u00f6skirjaani Globalisaation varjoisat huoneet. Kuulumisen ja ulossulkemisen tilat rajanylityksi\u00e4 k\u00e4sitteleviss\u00e4 liikkuvan kuvan installaatioissa (Rainio 2015) pohjautuvassa artikkelissani pohdin miten taide \u2013 ja omat installaatiomme \u2013 osallistuvat yhteiskunnalliseen keskusteluun kansallisista j\u00e4rjestyksist\u00e4, muuttoliikkeist\u00e4, rajoista ja globaalista eriarvoisuudesta. Monikanavaiset liikkuvan kuvan installaatiot \u2013 jotka olen toteuttanut yhdess\u00e4 kuvataiteilija Mark Robertsin kanssa \u2013 pohjautuvat perusteelliseen taustatutkimukseen ja k\u00e4sittelev\u00e4t prostituutioon kohdistuvaa naiskauppaa, pakolaisuutta, siirtolaisuutta ja monikulttuurista suomalaisuutta. Taideteokset ovat syntyneet pyrkimyksest\u00e4 ymm\u00e4rt\u00e4\u00e4 kansallisuuteen liittyvi\u00e4 kuulumisen ja ulossulkemisen prosesseja ja halusta tehd\u00e4 n\u00e4kyv\u00e4ksi ja kuuluvaksi tarinoita yhteiskunnan reunoilta, mitk\u00e4 usein j\u00e4\u00e4v\u00e4t kertomatta ja kuulematta.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.264845","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:11Z","timestamp":1503635051000},"source":"Crossref","is-referenced-by-count":0,"title":["Globalisaation varjoisat huoneet. Liikkuvan kuvan installaatiot eettisen ja poliittisen kohtaamisen tiloina."],"prefix":"10.22501","author":[{"family":"Minna Rainio","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:18:58Z","timestamp":1784287138000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/264845\/264846"}},"issued":{"date-parts":[[2016,10,3]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/ruu.264845","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2016,10,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:17Z","timestamp":1784283077986,"version":"3.55.0"},"posted":{"date-parts":[[2013,3,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2013,3,15]],"date-time":"2013-03-15T00:00:00Z","timestamp":1363305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exhibition Let Me Remember You as You Were Before You Existed is an exploration of the subtleties of embodied experience drawing on what I call \u2018somatic knowledge\u2019\u2014an embodied, preconceptual and nonpropositional type of knowledge. I developed a sensitivity to this form of embodied understanding through intense somatic training\u2014sixteen years of schooling in ballet. The artworks presented in the R.H.W. Foundation Gallery at the MacKenzie Art Gallery are an attempt to examine, through paint, somatic knowledge and to present a sense of embodied experience that challenges the dualisms created by the representational theory of perception.In an effort to present the subtleties of embodied experience\u2014imminent embodied knowledge and meaning\u2014I have faced the necessity of preventing the spectator from \u2018reading\u2019 the artwork and ascribing linguistic meaning to the paintings thereby transcending the materiality of the artworks with linguistic knowledge. Three strategies were implemented in my paintings in an effort to hold the spectator in a space of prelinguistic imminently felt meaning: dis-figuration, indeterminable spaces, and poetic titling. Dis-figuration is the process of reversing the signification of the painted body to present an asignifying flesh. The indeterminable space is meant to further unsettle the signifier-signified relationship by painting a palpable emptiness that is no place, but holds and envelopes the dis-figure. And finally, poetic titling is used for the paintings in an effort to have affective language intensify or point back to the affects presented in the artworks. I hope to exhibit a collection of paintings that present meaning that is not \u2018read\u2019, but instead felt, and touch upon a prelinguistic knowledge that expands a sense of who and what we, as human beings, are.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.32347","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:25Z","timestamp":1498053325000},"source":"Crossref","is-referenced-by-count":0,"title":["The Poetics of Flesh"],"prefix":"10.22501","author":[{"family":"Mike Binzer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:07Z","timestamp":1784282467000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/32347\/32348"}},"issued":{"date-parts":[[2013,3,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.32347","published":{"date-parts":[[2013,3,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:07Z","timestamp":1784290027351,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Expression and listening imply a complex interface. Neither can be conceptualized without the movement of intention and receptivity implied by their conjunction. Yet nothing is less certain, since conjunction requires an intermediary space, where a relationship may be formed in common or else violently impelled. This space \u2013 of listening and making oneself heard \u2013 is fundamentally political, and this essay explores its key forms in the age of biopolitics and neoliberalism. It is examined via artistic evocations of sonic production and listening in works by Andr\u00e9 Kert\u00e9sz, Iannis Xenakis and Federico Fellini. Then it is analyzed through two major contemporary paradigms of listening: the institutional network where sound art continues to stake out territory; and the private auditory \u2018bubble\u2019 generated by the mobile personal audio-player. Finally, in work by Pedro Almod\u00f3var, a revolutionary approach to expression is found that acknowledges the common space of listening on which it depends<\/jats:p>\n keywords: listening, biopolitics, neoliberalism, the common, expression, Erfahrung<\/jats:p>","DOI":"10.22501\/jss.227912","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:06Z","timestamp":1733131566000},"source":"Crossref","is-referenced-by-count":0,"title":["The Production of Listening: on Biopolitical Sound and the Commonplaces of Aurality"],"prefix":"10.22501","author":[{"family":"Huw Hallam","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:44:31Z","timestamp":1784288671000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/227912\/227913"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/jss.227912","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:15Z","timestamp":1784368995219,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"\u201dFata Morgana. An Essay Journey\u201d explores the optical phenomenon of the Fata Morgana and its mythical namesake, Morgain Le Fay, as a figure of thought to explore transcultural and transgeographical relationships between landscape and identity. Conceived as an essay journey with artistic interventions, Fata Morgana argues for rethinking imagined geographies against the territorial bigotry prevalent in Europe and the world, against essentialist ideas of singular or linear origins. Instead, K\u00f6rschkes uses Fata Morgana as a motif, myth and method for artistic research, employing its ephemerality and \u201cdiffuse occurrences\u201d to relocate places into other places, narratives onto other narratives, and thus brings together different spatialities, temporalities and identities into brieftopian co-existence.<\/jats:p>\n keywords: spatial imaginaries, essayistic, feminism, Assemblage, artistic research, narratives, Myths, landscape, territory<\/jats:p>","DOI":"10.22501\/vis.2830599","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T17:35:00Z","timestamp":1742232900000},"source":"Crossref","is-referenced-by-count":0,"title":["Fata Morgana. An Essay Journey."],"prefix":"10.22501","author":[{"family":"Torben K\u00f6rschkes","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:08:09Z","timestamp":1784365689000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2830599\/2985610"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2830599","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:23Z","timestamp":1784368943383,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","license":[{"start":{"date-parts":[[2022,3,4]],"date-time":"2022-03-04T00:00:00Z","timestamp":1646352000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2022,3,4]]},"abstract":"Collaborative creative processes within the realm of Western Art Music are usually hidden and\/or not actually collaborative at all. Vera John-Steiner (2000) defines \u2018integrative collaboration\u2019 as a working situation in which roles merge and a shared ideology and vision emerge through dialogue.This artistic research project investigates to what extent intimacy is a condition for collaboration and what it means within music-making. Intimacy is newly defined as the play of affective, physical and emotional borders between people where our own sense of ourselves can be shaped.By considering collaborative working as a compositional tool, intimacy becomes something that can be encouraged, indeed collaborative skills can be practiced. Through a variety of music-making projects in which I am project lead, composer and\/or performer or composer-performer, I devise strategies for handing over power to my colleagues and harnessing their creativity such that they become co-creators rather than just interpreters. I investigate different approaches to intimacy within the domains of music and theatre. I also reflect on my own development as a collaborator and attempt to create a set of principles for successful collaborative working.A set of advantages to adopting a devised process have emerged and a new focus on the long-term potential of a group or partnership changes the context for collaboration. Understanding that a creative partnership is a tree and artistic products are the fruits of that tree has caused me to understand collaboration as multimodal, beyond the score, and made clear the options for the choices of values within collaboration.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.1377266","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T08:14:32Z","timestamp":1684743272000},"source":"Crossref","is-referenced-by-count":0,"title":["Composing Together and Not Together - Intimacy as a Condition for Collaboration"],"prefix":"10.22501","author":[{"family":"Josh Spear","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:02:23Z","timestamp":1784365343000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1377266\/1377267"}},"issued":{"date-parts":[[2022,3,4]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1377266","published":{"date-parts":[[2022,3,4]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993247,"version":"3.55.0"},"posted":{"date-parts":[[2013,6,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2013,6,21]],"date-time":"2013-06-21T00:00:00Z","timestamp":1371772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition documents an attempt to create objects that remove all intelligent ideas of recognition from your powers of observation. The works are designed to generate a condition of mind called Object Recognition Breakdown Syndrome. This condition \u2013 known as ORBS \u2013 is experienced when we find ourselves faced with an object that upholds none of the values associated to any ideas we hold to give what we see an intelligent form of identity. The purpose of this work is to provoke a sensation generated by animal instinct from the depth of your mind.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.26502","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:21Z","timestamp":1498053321000},"source":"Crossref","is-referenced-by-count":0,"title":["THE THEORY AND PRACTICE OF ORBS IN ART."],"prefix":"10.22501","author":[{"family":"Christopher Hollins","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:07Z","timestamp":1784282467000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/26502\/26503"}},"issued":{"date-parts":[[2013,6,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.26502","published":{"date-parts":[[2013,6,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:39Z","timestamp":1784286219240,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2020,12,29]],"date-time":"2020-12-29T00:00:00Z","timestamp":1609200000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,12,29]]},"abstract":"When migraine arrives, not only the body suffers. The voice too is impacted by a condition that introduces itself with such great force. As a migraine-suffering singer I notice these changes and become fascinated by the aesthetics of a failing voice in a failing body. This exposition reflects upon the relevancy of Migraine Music as an aesthetic phenomenon and by focusing on the specific area of the vocal and the sonant, I project the issue into a broader context of language, speech and communication. First, I find the migraineur\u2019s voice to be missing as it is silenced by society. Then, I study the failing of the voice when constricted by intense physical pain and I turn to the voice as it is transformed by migraine-specific symptoms. I study these deficiencies of the voice on a theoretical level in order to approach them through my artistic practice as a migraining singer. The artistic work accompanying this research is entitled Impulsive Incantations, and aims at voicing the migraine body through evocative text, vocal improvisations and a migrainous singing technique.<\/jats:p>\n keywords: Migraine, voice, Pain, Aesthetic of Failure, diary<\/jats:p>","DOI":"10.22501\/jar.788484","type":"journal-article","created":{"date-parts":[[2020,12,29]],"date-time":"2020-12-29T06:40:27Z","timestamp":1609224027000},"source":"Crossref","is-referenced-by-count":1,"title":["Impulsive Incantations - Voicing Migraine"],"prefix":"10.22501","author":[{"family":"Mariske Broeckmeyer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:06:41Z","timestamp":1784282801000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/788484\/1015518"}},"issued":{"date-parts":[[2020,12,29]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jar.788484","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2020,12,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974813,"version":"3.55.0"},"posted":{"date-parts":[[2024,1,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,1,16]],"date-time":"2024-01-16T00:00:00Z","timestamp":1705363200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This thesis traces the transformation of a prepared electric guitar practice into a practice where improvisation is infused in all of its facets. Through this research, I have developed a personal approach to the prepared tabletop electric guitar that I call \"Object Guitar\". I leave the historical frame of the prepared guitar as a reflection of the prepared piano and take an interpretation of the 1912 \"Guitar\" sculpture by Pablo Picasso as a starting point. Through Picasso\u2019s use of improvised techniques and heterogeneous materials, we can see the prepared electric guitar practice as possessing a similar process of \"bricolage\" and the agency and recalcitrance of the objects used to prepare the guitar. This makes the prepared tabletop electric guitar fundamentally impossible to master. Mastery gets substituted with the process of \"assemblage\"\u2014the arranging of disparate found materials. With this approach, I developed a series of experimental instruments and devices. Experimental instruments explore novel possibilities in instrument design but also provide a platform for experimentation. These instruments magnify the improvisational characteristics of the existing electric guitar. The 18-string Object Guitar is a gradual development of the electric guitar into a dedicated tabletop instrument. A series of Deconstruction Guitars break down the electric guitar into fundamental elements to understand their function in the prepared guitar system. All the instruments and devices form an open-ended series of constructions; each playing situation has a different configuration of these instrument and device modules. Along with the instruments, I created a new practice method for the prepared tabletop electric guitar in improvised music. As mastery falls away as a criterion for the prepared guitar practice, the focus shifts to an exploration of the instrument. Practicing becomes a progression of questions and curiosity, with each question leading to new questions. The Object Guitar Archive gives structure and context to this method. The exploratory practice method spans the whole range of prepared guitar practice activities. Each step of the process is supported by the Object Guitar Archive.<\/jats:p>\n keywords: Prepared guitar, free improvisation, Electric Guitar<\/jats:p>","DOI":"10.22501\/rc.2373492","type":"posted-content","created":{"date-parts":[[2024,1,16]],"date-time":"2024-01-16T03:36:41Z","timestamp":1705376201000},"source":"Crossref","is-referenced-by-count":0,"title":["Improvising Object Guitar"],"prefix":"10.22501","author":[{"family":"Hugo Ari\u00ebns","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:58Z","timestamp":1784282338000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2373492\/2373491"}},"issued":{"date-parts":[[2024,1,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2373492","published":{"date-parts":[[2024,1,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030373,"version":"3.55.0"},"posted":{"date-parts":[[2024,11,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,11,21]],"date-time":"2024-11-21T00:00:00Z","timestamp":1732147200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research aims to combine my two artistic identities as a Chinese zither (\u53e4\u7b5d) player and as a classical singer. After researching, interpreting and analyzing two art song cycles from the 20th century, 5 Poems of Ancient China and Japan by Charles Griffes and Songs of Autumn (\u79cb\u4e4b\u6b4c) by Zhongrong Luo (\u7f57\u5fe0\u9555), I integrate Chinese traditional music forms, ornamentation and instrumentation into my vocal performance. The methodology includes literature review, expert interview, internet media review, score analysis, language analysis and experimental music practice. The outcomes highlight my approach of incorporating inspiration from zither music and folk singing styles into the art song cycles, while also addressing the ethical considerations encountered throughout the research process.<\/jats:p>\n keywords: Chinese zither, classical singing, 20th-century song cycles, Chinese poetry, ornamentation, arrangement, language analysis, Charles Griffes, Zhongrong Luo (\u7f57\u5fe0\u9555), Chinese zither, classical singing, Ornamentation, Charles Griffes, Zhongrong Luo, art song, 20th century music, language analysis, folk music, Chinese poetry<\/jats:p>","DOI":"10.22501\/rc.3216994","type":"posted-content","created":{"date-parts":[[2024,11,21]],"date-time":"2024-11-21T15:33:06Z","timestamp":1732203186000},"source":"Crossref","is-referenced-by-count":0,"title":["A Dialogue of Music between East and West: New Interpretations of 20th-Century Art Songs Based on Ancient Chinese Poems"],"prefix":"10.22501","author":[{"family":"Zijing Meng","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:32Z","timestamp":1784282312000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3216994\/3216993"}},"issued":{"date-parts":[[2024,11,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3216994","published":{"date-parts":[[2024,11,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:43Z","timestamp":1784286463913,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,1,14]],"date-time":"2021-01-14T00:00:00Z","timestamp":1610582400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,1,14]]},"abstract":"Starting from my personal teaching experience, I have been studying the effect of visual instructions on my violin pupils.With a detailed analysis of the interactions between students and teacher and the help of 36 observation sheets, I could finally see the effects of enhancing visuals on student\u2019s musical learning.All conclusions were drawn after taking into account specific studies mentioned in the theoretical framework and with respect to the observations made by three external experts.This research found further evidence of the link between visualization and critical thinking as well.<\/jats:p>\n keywords: visualisation, violin, instrumental technique, Music Education<\/jats:p>","DOI":"10.22501\/koncon.914033","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:35Z","timestamp":1725907235000},"source":"Crossref","is-referenced-by-count":0,"title":["Effects of visual instructions in one-on-one violin lessons"],"prefix":"10.22501","author":[{"family":"Mauro Smorto","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:40:34Z","timestamp":1784284834000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/914033\/914034"}},"issued":{"date-parts":[[2021,1,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.914033","published":{"date-parts":[[2021,1,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:37Z","timestamp":1784286277770,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2015,12,20]],"date-time":"2015-12-20T00:00:00Z","timestamp":1450569600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,12,20]]},"abstract":"This exposition investigates practice-as-research dynamics through a project titled \u2018Shuttle\u2019, from which emerged a practice of \u2018shuttling\u2019 as a layered modality for processing methodological artistic research. An international crew of artists, designers, and performance makers enquire into peer-to-peer creative practice development: practices unfolding through the dramaturgy of a twenty-day, four-thousand-mile mobile performance-research journey in the deserts of the North American south-west. We trace the dynamics of a practice-as-research milieu through a suite of artistic operations, performatively elaborated through this rich-media exposition. Through \u2018shuttling\u2019, we generate parafunctional performative spaces and temporalities. Our spatio-temporal and sensory mode of research \u2013 conditioned, co-created, and situated as a mobile laboratory \u2013 posits reflexivity as an embodied practice, as a medium of \u2018shuttling\u2019 with the dynamic emergence of creative research practices.<\/jats:p>\n keywords: reflexivity, desert ecology, practice\u2013research dynamics, dramaturgy, landscape, land art, shuttling, deserts, border, performance, practice as research, performing mobility<\/jats:p>","DOI":"10.22501\/jar.80218","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T15:22:08Z","timestamp":1492442528000},"source":"Crossref","is-referenced-by-count":0,"title":["Shuttling"],"prefix":"10.22501","author":[{"family":"Mick Douglas","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Beth Weinstein","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"James Oliver","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:14:11Z","timestamp":1784283251000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/80218\/91677"}},"issued":{"date-parts":[[2015,12,20]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/jar.80218","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2015,12,20]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977730,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"24.11.2024 og 04.01.2024 Deler av samtale under samarbeid om \u00e5 lage kopper p\u00e5 verkstedet til Anne Line Sund p\u00e5 Nesodden.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, anne line sund, brukskunst, sosial keramikk, kopper, keramisk kunst, kunsth\u00e5ndverk, leire, brunleire, dreie, samarbeid, sigrid espelien<\/jats:p>","DOI":"10.22501\/rc.2984432","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T02:06:41Z","timestamp":1741313201000},"source":"Crossref","is-referenced-by-count":0,"title":["Koppesamarbeid med Anne Line Sund"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:17Z","timestamp":1784282297000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2984432\/2984312"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2984432","published":{"date-parts":[[2025,3,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:48Z","timestamp":1784283048724,"version":"3.55.0"},"posted":{"date-parts":[[2023,4,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,14]],"date-time":"2023-04-14T00:00:00Z","timestamp":1681430400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is an experimental piece in writing; it is a walking together of thoughts through words, and thereby, mapping virtual and physical spaces created from a series of iterations and responses between the writer and her co-walkers. The piece emphasises on walking-as-practice, and as they take each step in their own individual\/shared spaces, they keep conversing and moving randomly on this virtual ground through writing.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1671624","type":"posted-content","created":{"date-parts":[[2023,4,14]],"date-time":"2023-04-14T08:04:41Z","timestamp":1681459481000},"source":"Crossref","is-referenced-by-count":0,"title":["Walk-in-progress-- taking a stroll\/scroll through public spaces with others"],"prefix":"10.22501","author":[{"family":"Sonam Chaturvedi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:37Z","timestamp":1784282377000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1671624\/1671625"}},"issued":{"date-parts":[[2023,4,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1671624","published":{"date-parts":[[2023,4,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:57Z","timestamp":1784282997888,"version":"3.55.0"},"posted":{"date-parts":[[2026,6,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,6,7]],"date-time":"2026-06-07T00:00:00Z","timestamp":1780790400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Dit is mijn werk voor het afstuderen van de studie Design for Change and Innovation<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3897271","type":"posted-content","created":{"date-parts":[[2026,6,7]],"date-time":"2026-06-07T18:54:42Z","timestamp":1780858482000},"source":"Crossref","is-referenced-by-count":0,"title":["Afstuderen DCI 2025-2026"],"prefix":"10.22501","author":[{"family":"Manou Csanyi Fritz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:36Z","timestamp":1784282196000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3897271\/3924108"}},"issued":{"date-parts":[[2026,6,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3897271","published":{"date-parts":[[2026,6,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:55Z","timestamp":1784289895871,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T00:00:00Z","timestamp":1743638400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,4,3]]},"abstract":"In February 1967, a funeral service was held for the Georgian singer and choirmaster Artem Erkomaishvili. As they bore his body from the municipal theatre in Ozurgeti to his family plot in a nearby village, a recording of the Georgian Orthodox rite for the dead emanated from a portable tape player. The voice on the recording belonged to Artem himself \u2013 by this time, no one else in officially atheist Soviet Georgia knew the traditional requiem chants. The previous year, Artem had been involved in an experimental recording at the Tbilisi Conservatory, and he later applied the same technique to capture the three-part chants: going back and forth between two tape recorders, he overdubbed his own voice until all three parts were layered together. Artem\u2019s remarkable, six-decade career stretched from the earliest commercial recordings of Georgian folk music in 1907 to the widespread use of consumer tape-recording technology in the 1960s. His chant recordings \u2013 both the conservatory project and the private funeral tapes \u2013 were made outside of formal channels of music production and distribution, employing amateur equipment and foregrounding the intimacy of the unvarnished voice. In this way, they resemble magnitizdat, the private tape recordings of poetry and song that circulated unofficially in the late Soviet period (Daughtry 2009). Made at a time when sacred music was still heavily censored, Artem\u2019s recordings occupied the grey area between officially sanctioned and explicitly dissident expression. Building on recent work exploring sound in everyday Soviet experience (Cornish 2020) and expanding the discussion of Georgian music beyond the disciplines of folklore and ethnomusicology, I argue that such private practices of listening and recording provided a means for Georgians in the post-Thaw era to grapple with questions of faith, the loss of tradition, the polyphony of a fracturing state, and the afterlife of a single voice.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.3509747","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T03:11:26Z","timestamp":1743649886000},"source":"Crossref","is-referenced-by-count":0,"title":["Singing at Your Own Funeral: Overdubbed Intimacy and the Persistence of Tradition in Soviet Georgia"],"prefix":"10.22501","author":[{"family":"Brian Fairley","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:29:49Z","timestamp":1784287789000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3509747\/3509748"}},"issued":{"date-parts":[[2025,4,3]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jss.3509747","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2025,4,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:56Z","timestamp":1784290016084,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This paper describes how sound engineers in Jamaica fine-tune the huge and powerful dancehall sound systems to achieve their best auditory performance. This provides an example of how cybernetic systems combine musical and technological processes. The phonographic apparatus of the set utilizes three basic material electromagnetic processes: (1) power; (2) control (Bateson 1987) and (3) transduction (Simondon 1992). The sound System engineers fine-tune with a technique of compensation, described in terms of two corporeal sensorimotor practices: (1) the kinetic motor process of manipulating the value of particular components, or substituting one for another and (2) the haptic sensory process of monitoring the auditory output of the set. Further, the engineers are engaged in (3) evaluating or skilled listening (Sterne 2003) for the particular sonic qualities such as \u201cbalance,\u201d \u201cweight\u201d and \u201cattack\u201d that the fine-tuning aims to achieve. Engineers learn to evaluate, select and combine sounds in the sociocultural milieu of an apprenticeship \u2013 as elements of a communication system (Wilden 1972).An earlier version of this paper was presented at the 18th International Conference on Systems Research, Informatics & Cybernetics. 7 to 12th August, 2006, Baden-Baden, Germany.<\/jats:p>\n keywords: cybernetics, technique, evaluating, milieux, transduction<\/jats:p>","DOI":"10.22501\/jss.223120","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:55Z","timestamp":1733131555000},"source":"Crossref","is-referenced-by-count":1,"title":["Auditory and Technological Culture: the Fine-tuning of the Dancehall Sound System \u201cSet\u201d"],"prefix":"10.22501","author":[{"family":"Julian Henriques","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:44:02Z","timestamp":1784288642000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/223120\/223121"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.223120","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:59Z","timestamp":1784290019349,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"06","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"In today\u2019s multimedia world, an understanding of non-visual modalities, particularly sound, is of great benefit to design. With the use of digital technologies within design and art practices, the affordances for sound are frequently present, but often under-used and misunderstood by those with an education that privileges the visual mode at the expense of other modalities. Despite the importance of sound within multimedia applications and the fact that digital art, video games, film, branding, and product design today all require some understanding of the sonic realm, art and design students often complete their degrees without following a single class related to sound and its perception. In this paper, we introduce several exercises undertaken in interdisciplinary sound design courses taught to undergraduate designers, artists, and game developers with the aim of illustrating a scaffolding approach to teaching about sound.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.236292","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:48Z","timestamp":1733131548000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound Design for Media: Introducing Students to Sound"],"prefix":"10.22501","author":[{"family":"Karen Collins","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:42:26Z","timestamp":1784288546000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/236292\/236293"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"06"},"URL":"https:\/\/doi.org\/10.22501\/jss.236292","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:39Z","timestamp":1784282979287,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:00:00Z","timestamp":1759795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Dimensions of an Encounter: A Sculpture & Its Shadow explores how sculpture negotiates the opposing forces of gravity and levity, presence and absence, object and support. Tracing a lineage from Leibniz\u2019s theory of individuation to Melanie Klein\u2019s theory of object recognition to various sculptural practices, the essay considers how spatial arrangement mediates psychic projection and self-recognition.<\/jats:p>\n keywords: gravity, levity, minimalism, modernism, melanie klein, leibniz, sculpture, isa genzken, Br\u00e2ncu\u0219i, monadology, rachel harrison, unism, dimensionism, anne truitt, donald judd<\/jats:p>","DOI":"10.22501\/rc.3919694","type":"posted-content","created":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T08:31:41Z","timestamp":1759825901000},"source":"Crossref","is-referenced-by-count":0,"title":["Dimensions of an Encounter: A Sculpture &amp; Its Shadow"],"prefix":"10.22501","author":[{"family":"Camille Clair","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:51Z","timestamp":1784282271000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3919694\/3919693"}},"issued":{"date-parts":[[2025,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3919694","published":{"date-parts":[[2025,10,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:45Z","timestamp":1784282985727,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,20]],"date-time":"2023-06-20T00:00:00Z","timestamp":1687219200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cMy sound body is the ghostly embrace that physically envelops the listener, with acoustic energy. Feel my presence, as I hide in plain sight.\u201dThis exposition explores the role of surround sound in filmmaking, its strength and pitfalls in space-making, as well as its viability as an image-making device. The author challenges conservative usage of surround sound, advocating for a playful and resistant approach; with the aim to create active and immersive spatial soundscapes where each audience member can experience their own \"sweet spot.\" They reflect on the limitations of traditional cinema sound and express their desire to empower listeners with a dense and rich auditory experience.By focusing on capturing authentic acoustic spaces, challenging traditional recording practices, and exploring a resistant approach to surround sound; the author highlights the unique relationship between sound, image, and space; and how their interplay can evoke various impressions. The text delves into the author's artistic approach to working with surround-scapes (surround-soundscapes), highlighting different strategies and providing examples from films and games. Three surround-aesthetics are defined and named, which the author refers to as \"rooms.\" The transformative power of sound is underscored, with a focus on embracing vulnerability and fluidity as sources of strength.Through the context of foley-practice and surround-scaping; this exposition questions the role and reach of the author's body - a sound body.<\/jats:p>\n keywords: film sound, surround, acoustic spaces, surround-aesthetics, spatial, spatiality, soundtrack, immersive sound, surround-scaping, sound design, foley, filmmaking, acousmatic, acousmatics, hierarchy, sonic practice<\/jats:p>","DOI":"10.22501\/rc.1874412","type":"posted-content","created":{"date-parts":[[2023,6,20]],"date-time":"2023-06-20T11:24:31Z","timestamp":1687260271000},"source":"Crossref","is-referenced-by-count":0,"title":["SOUND\/BODY"],"prefix":"10.22501","author":[{"family":"Petar Mrdjen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:26Z","timestamp":1784282366000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1874412\/2163019"}},"issued":{"date-parts":[[2023,6,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1874412","published":{"date-parts":[[2023,6,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:47Z","timestamp":1784290127947,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,9,2]],"date-time":"2025-09-02T00:00:00Z","timestamp":1756771200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2025,9,2]]},"abstract":"Med utgangspunkt i kunstneriske framstillinger av Arkadiamotivet, og med pastoralen som optikk, vil dette prosjektet utforske \u00abutopiske\u00bb forestillinger om fortiden, gjennom arbeid i ulike kunstneriske uttrykksformer, i tekstil, skulptur og tekst.<\/jats:p>\n keywords: artistic processes, artwork, arkadia, pastorale, Rome, sculptures, Textile art, landscape, rivers, KMD_Art<\/jats:p>","DOI":"10.22501\/kmd-ar.3750619","type":"journal-article","created":{"date-parts":[[2025,9,2]],"date-time":"2025-09-02T10:57:16Z","timestamp":1756810636000},"source":"Crossref","is-referenced-by-count":0,"title":["ARKADIA"],"prefix":"10.22501","author":[{"family":"Anne Skaansar","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:56:22Z","timestamp":1784289382000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3750619\/3750620"}},"issued":{"date-parts":[[2025,9,2]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.3750619","published":{"date-parts":[[2025,9,2]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:11Z","timestamp":1742294411940,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0001","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:23:14Z","timestamp":1538061794000},"source":"Crossref","is-referenced-by-count":2,"title":["Artistic research as speculative practice"],"prefix":"10.22501","author":[{"given":"Annette","family":"Arlander","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2017,3,31]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:41Z","timestamp":1742292161000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-research-speculative-practice"}},"issued":{"date-parts":[[2017,3,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0001","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2017,3,31]]}},{"indexed":{"date-parts":[[2026,1,22]],"date-time":"2026-01-22T07:04:26Z","timestamp":1769065466538,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,21]],"date-time":"2026-01-21T00:00:00Z","timestamp":1768953600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cultural entrepreneurship is commonly discussed in relation to individual agency, innovation, and participation in cultural markets. While these dimensions are important, such framings tend to foreground personal initiative while underarticulating the infrastructural role that entrepreneurial practices play in sustaining cultural and artistic life. This article proposes a reframing of cultural entrepreneurship as a form of public infrastructure: a set of organisational, relational, and institutional practices that enable cultural work to exist, persist, and circulate over time.Rather than presenting an empirical study, the article advances a conceptual argument grounded in long-term engagement with artistic education, project development, and institutional contexts. It suggests that cultural entrepreneurship functions less as a pathway to individual success than as a shared enabling system that absorbs risk, maintains continuity, and mediates between artistic, economic, and institutional logics. In many sett<\/jats:p>\n keywords: cultural entrepreneurship cultural infrastructure artistic practice cultural policy public value cultural rights creative labour<\/jats:p>","DOI":"10.22501\/rc.4137595","type":"posted-content","created":{"date-parts":[[2026,1,21]],"date-time":"2026-01-21T15:49:02Z","timestamp":1769010542000},"source":"Crossref","is-referenced-by-count":0,"title":["Cultural Entrepreneurship as Public Infrastructure: Enabling the Conditions for Sustainable Cultural and Artistic Practice"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-8242-6027","authenticated-orcid":false,"family":"Christer Windel\u00f8v-Lidzelius","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,21]],"date-time":"2026-01-21T15:49:02Z","timestamp":1769010542000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4137595\/4137594"}},"issued":{"date-parts":[[2026,1,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4137595","published":{"date-parts":[[2026,1,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,5,14]],"date-time":"2024-05-14T00:33:49Z","timestamp":1715646829178},"posted":{"date-parts":[[2024,5,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.2708116","type":"posted-content","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:34:57Z","timestamp":1715585697000},"source":"Crossref","is-referenced-by-count":0,"title":["Artistic Research_Second Semester"],"prefix":"10.22501","author":[{"family":"Alkmini Damianakou","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:34:57Z","timestamp":1715585697000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2708116\/2708117"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2708116","published":{"date-parts":[[2024,5,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:58Z","timestamp":1784369098939,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T00:00:00Z","timestamp":1749772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,6,13]]},"abstract":"Interested in how photographs are constituted, this exposition situates itself in between materialities of photography to discover how photographs are actualized. Using photography as artistic research practice, it uncovers how matters, sounds, bodies, and machines intra-act within the practice of photography. The inquiry challenges the bifurcation between the outside\/inside of the frame, rather it emphasizes its fluid nature. It delves into the cosmogenesis of a photograph exploring the multiple folds and transformations in actualizing a photograph revealing the intricate and dynamic assemblages of humans and non-humans from the outside folding with the inside. Thinking with Gilles Deleuze's concept of the Folds, the exposition was able to surface layers upon layers of bodily and material folds that trouble the traditional notion of photographs as images separated from the outside. In the middle of its messiness, the exposition was able to develop an Applique technique as a method of knowing that emerges from this artistic research practice. What came out are layers of images that describe photography as performative movement of matters and bodies, a metamorphosis of infinite images while navigating the rich culture of Vietnam\u2019s Hanoi capital.<\/jats:p>\n keywords: post-human, post-photography, Deleuze, post qualitative methodology<\/jats:p>","DOI":"10.22501\/hub.2244748","type":"journal-article","created":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T06:39:27Z","timestamp":1749796767000},"source":"Crossref","is-referenced-by-count":0,"title":["Assembling Hanoi: Metamorphosis of Photographic Images"],"prefix":"10.22501","author":[{"family":"Lorena Ba\u00f1ares","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:22:58Z","timestamp":1784366578000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2244748\/2244749"}},"issued":{"date-parts":[[2025,6,13]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/hub.2244748","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2025,6,13]]}},{"indexed":{"date-parts":[[2026,1,22]],"date-time":"2026-01-22T07:14:55Z","timestamp":1769066095814,"version":"3.49.0"},"posted":{"date-parts":[[2026,1,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,21]],"date-time":"2026-01-21T00:00:00Z","timestamp":1768953600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition documents The Art of Entrepreneurship \u2013 Entrepreneurship as Artistic Practice, a two-year artistic research project exploring how artistic work moves from idea to public encounter. The project investigates how artists and cultural practitioners in a Swedish context navigate aspirations, impact, collaboration, interdisciplinary processes, audience relations, and new forms of distribution. Through interviews, reflective inquiry, and the creation of audio-visual material, the research examines how entrepreneurial methods and models are understood, adapted, or resisted within artistic practice\u2014and how these methods might support more sustainable artistic trajectories.The project\u2019s knowledge-creating approach is grounded in artistic research and co-creative methodology. Rather than treating artists as objects of study within an economic discourse, the research situates entrepreneurial thinking within the artistic field itself. Using mixed methods, including literature review, semi-structured interviews, and collaborative filming, the project brings forward stories of artistic processes, agency, urgency, and the conditions under which artistic ideas materialise and generate societal impact.The exposition presents early findings, thematic patterns, audio-visual portraits, methodological reflections, and ongoing analyses. It also contributes to the development of pedagogy in entrepreneurship within the arts, informing existing SKH educational programmes and supporting the emergence of new content. As a whole, the exposition serves as both documentation and a platform for continued reflection, dialogue, and future publications derived from the project.<\/jats:p>\n keywords: Entrepreneurship, cultural entrepreneurship, Artistic Entrepreneurship, artistic research, hybrid research<\/jats:p>","DOI":"10.22501\/rc.4011391","type":"posted-content","created":{"date-parts":[[2026,1,21]],"date-time":"2026-01-21T15:50:26Z","timestamp":1769010626000},"source":"Crossref","is-referenced-by-count":0,"title":["The Art of Entrepreneurship \u2013 Entrepreneurship as Artistic Practice Entrepreneurship in the Artistic and Cultural Sector"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-8242-6027","authenticated-orcid":false,"family":"Christer Windel\u00f8v-Lidzelius","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"family":"Tinna Jon\u00e9","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,1,21]],"date-time":"2026-01-21T15:50:26Z","timestamp":1769010626000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4011391\/4011390"}},"issued":{"date-parts":[[2026,1,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4011391","published":{"date-parts":[[2026,1,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993727,"version":"3.55.0"},"posted":{"date-parts":[[2022,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,10,7]],"date-time":"2022-10-07T00:00:00Z","timestamp":1665100800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Published as part of: Halla Steinunn Stef\u00e1nsd\u00f3ttir and Stefan \u00d6stersj\u00f6, \u2018Listening and Mediation: of agency and performative responsivity in ecological sound art practices\u2019 in \u2018Practices of Phenomenological and Artistic Research\u2019, (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, Volume 17 (2022), No.1, ISSN\u00a01913-4711. See here: https:\/\/journals.library.ualberta.ca\/pandpr\/index.php\/pandpr\/index<\/jats:p>\n keywords: agency, ecological sound art, micro-phenomenology, post-phenomenology, stimulated recall<\/jats:p>","DOI":"10.22501\/rc.1235440","type":"posted-content","created":{"date-parts":[[2022,10,7]],"date-time":"2022-10-07T11:51:37Z","timestamp":1665143497000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening and Mediation: of agency and performative responsivity in ecological sound art practices"],"prefix":"10.22501","author":[{"family":"Halla Steinunn Stef\u00e1nsd\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Stefan \u00d6stersj\u00f6","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:45Z","timestamp":1784282385000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1235440\/1235441"}},"issued":{"date-parts":[[2022,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1235440","published":{"date-parts":[[2022,10,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:57Z","timestamp":1784283057462,"version":"3.55.0"},"posted":{"date-parts":[[2019,3,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,3,30]],"date-time":"2019-03-30T00:00:00Z","timestamp":1553904000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A simple reconfiguring of a mass-produced guitar results in an affordable and comfortable instrument that straddles the gap between the fiddle and the classical guitar. The instrument\u2019s playability gives birth to a new set of eight guitar compositions with two main components throughout: Partly reworked versions of eclectic ideas from my youth decades ago, partly new melodies and improvisations inspired by Scandinavian traditions. A long-held desire for softer dividing lines and cross-bleed between disparate bodies of musical material is expressed in a process of composition, performance and recording that simultaneously redefines memory, dreams and connotations. The artistic results constitute the primary text and will be represented as videos and sound clips throughout. The written text leads up to, and\/or comments on, the artistic issues tackled in the videos.<\/jats:p>\n keywords: Guitar, traditional music, cross-genre, improvisation, composition process<\/jats:p>","DOI":"10.22501\/rc.574297","type":"posted-content","created":{"date-parts":[[2019,3,30]],"date-time":"2019-03-30T05:55:39Z","timestamp":1553925339000},"source":"Crossref","is-referenced-by-count":0,"title":["Eon: Blurring lines on a small (time-) travel guitar"],"prefix":"10.22501","author":[{"family":"Andreas Aase","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:48Z","timestamp":1784282448000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/574297\/574298"}},"issued":{"date-parts":[[2019,3,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.574297","published":{"date-parts":[[2019,3,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:47Z","timestamp":1784290127957,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","license":[{"start":{"date-parts":[[2023,7,7]],"date-time":"2023-07-07T00:00:00Z","timestamp":1688688000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2023,7,7]]},"abstract":"The Ph.D. project in Artistic Research, Tipping Points, conducted by Tijs Ham ('81), is situated in the field of live electronics and focuses on the exploration of chaotic processes within instrument design, compositional strategies, and performance. The unpredictable nature of chaos impacts many aspects of musicking. Artistic works emerge from the interferences between processes that are set in motion. Instruments are influenced and in turn influence the performer in return. The reflections turn to the notion of wondering as the performer and audiences alike encounter unforeseen sonic behaviors that are strangely musical despite their volatile and fragile chaotic origins.<\/jats:p>\n keywords: Chaotic instruments, Live-electronics, artistic research, wonder, Chaos, composer as performer, instrument design, KMD_PhD, KMD_Grieg<\/jats:p>","DOI":"10.22501\/kmd-ar.1741618","type":"journal-article","created":{"date-parts":[[2023,5,23]],"date-time":"2023-05-23T03:58:22Z","timestamp":1684814302000},"source":"Crossref","is-referenced-by-count":0,"title":["Tipping Points (Reflection Component)"],"prefix":"10.22501","author":[{"family":"Tijs Ham","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:57:25Z","timestamp":1784289445000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1741618\/1741633"}},"issued":{"date-parts":[[2023,7,7]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1741618","published":{"date-parts":[[2023,7,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:30Z","timestamp":1784282970525,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,21]],"date-time":"2026-03-21T00:00:00Z","timestamp":1774051200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I started to follow a transhumance a year ago, from November 2024, when I saw a flok spread over a field. Studying the ethological behaviour of the sheeps led me to understeand that the way they spread over the space they inhabit show how they relate to each other. This was a revelation for me, a strong metaphor: the movement of the individual in the landscape is a potential to establish relationships.<\/jats:p>\n keywords: visual art, video installation; performance; landscape; environment;, Video art, performance<\/jats:p>","DOI":"10.22501\/rc.3678816","type":"posted-content","created":{"date-parts":[[2026,3,21]],"date-time":"2026-03-21T15:52:07Z","timestamp":1774108327000},"source":"Crossref","is-referenced-by-count":0,"title":["TO FOLLOW A TRANSHUMANCE"],"prefix":"10.22501","author":[{"family":"Martina Zito","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:57Z","timestamp":1784282217000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3678816\/3678817"}},"issued":{"date-parts":[[2026,3,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3678816","published":{"date-parts":[[2026,3,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974829,"version":"3.55.0"},"posted":{"date-parts":[[2023,10,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T00:00:00Z","timestamp":1697760000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"AbstractThe towers of the Stockholm skyline twine with radio transmissions, flying out over the city, drifting down through the streets and sinking into the underground telephone system below. Stockholm has buildings that have been there for centuries, but is also full of modern and contemporary architectures, all jostling for their place in parallel collective memory. In taking the city up as a subject, this artistic PhD project in music expands allegories to these architectural instruments into the world of the mechanical and the electrical. By taking up and transforming the materials of the cityscape, this project spins ephemeral cities more subtle than the colossal forces transforming the city. The aim is to offer those materials, wrought into music and sound works, for urban dwellers to deepen, remember, evoke and envision their own ephemeral cities.The themes in the project are drawn from urban memory and transformation, psychogeography and the ghosts of the imagined city, aiming to empower a sense of place beyond commercial forces, through the fleeting, subtle and imaginary. There are three questions the artistic works of this project reflect on and address. The first is about the ability of city-dwellers to regain or create some sense of place, history or belonging through the power of their imaginations. The second reflects on the possibility for imagined alternatives to re-empower a sense of place for the people who encounter them. The third seeks out the points where stories, memories, or alternative futures are collective, at what point are they wholly individual, and how the interplay between them plays out in listening.There is an improvisatory practice in how we relate to urban environments: an ever- transforming inter-play between the animate and inanimate. Each individual draws phantoms of memory and imagination onto the cityscape, and this yields subtle ways people can be empowered in their surroundings. The artistic works of this project are made to illuminate those subtleties. They are comprised of a group of compositions, improvisations, artistic collaborations and sound installations in music and sound. I have created them utilizing modular synthesizers, field recordings, pipe organs, multi-channel settings; PureData and SuperCollider programs; string ensembles with hurdy-gurdy, nyckelharpa or violin, and; sound installations. This choice of instruments is as an allegory to the architecture of Stockholm. The final result is a collection of music and sound works, made to evoke the imagined city. Taken as a whole, the works of the project create an imaginary city\u2013one possible version of The Ephemeral City\u2013to argue that the evocation of ephemeral space is a way to empower urban dwellers. The mechanism of that empowerment is the force of imagination, immune to the vast forces tearing through the fabric of Stockholm life by virtue of the ghostly, transitory and mercurial, as compelling to the inner eye as brick and mortar to the outer life.Popul\u00e4rvetenskaplig sammanfattningKyrkspirorna och tornen p\u00e5 Stockholms horisont blandar sig med radios\u00e4ndningar som flyger ut \u00f6ver staden bredvid privatiserade v\u00e5gl\u00e4ngder, driver ner genom atmosf\u00e4ren och sjunker ner i det \u00f6vergivna underjordiska telefonsystemet. Stockholm har byggnader som funnits d\u00e4r i \u00e5rhundraden, men \u00e4r ocks\u00e5 full av den mest moderna och samtida arkitektur. Allt konkurrerar om sin plats i det kollektiva minnet. Det h\u00e4r konstn\u00e4rliga doktorandprojektet i musik tar upp och omvandlar stadsbildens grundmaterial, skapar bilder av staden, mer subtila \u00e4n de starka krafter som \u00e4r i r\u00f6relse; d\u00e4r staden f\u00f6r\u00e4ndras s\u00e5 snabbt och p\u00e5 ett s\u00e4tt som ofta skapar maktl\u00f6shet. Syftet \u00e4r att erbjuda material, bearbetat till musik och ljudverk, f\u00f6r stadsbor att f\u00f6rdjupa, minnas, frammana och f\u00f6rest\u00e4lla sig sina egna efem\u00e4ra st\u00e4der.\u00c4mnena i projektet \u00e4r tagna fr\u00e5n urbana minnen och omvandlingar, psykogeografi och andarna i den efem\u00e4ra staden. Syftet \u00e4r att m\u00f6jligg\u00f6ra en upplevelse av tillh\u00f6righet och hemmah\u00f6rande som str\u00e4cker sig bortom kommersiella krafter och ist\u00e4llet framh\u00e5ller det flyktiga, subtila och imagin\u00e4ra. Projektet tar sig an tre fr\u00e5gest\u00e4llningar: Hur kan musik och ljudkonst m\u00f6jligg\u00f6ra ett \u00e5tertagande av tillh\u00f6righet och platsk\u00e4nsla genom kraften i individens fantasi? Hur kan alternativa inre bilder av staden f\u00f6rst\u00e4rka en upplevelse av tillh\u00f6righet och platsk\u00e4nsla? N\u00e4r blir ber\u00e4ttelser, minnen och alternativa framtidsvisioner kollektiva, n\u00e4r kan de delas med andra och n\u00e4r \u00e4r de helt individuella?Det finns ett improvisatoriskt samspel mellan det levande och det materiella i staden vilket m\u00f6jligg\u00f6r subtila s\u00e4tt f\u00f6r de boende att \u00e5terf\u00e5 inflytande \u00f6ver sin omgivning. De konstn\u00e4rliga verken i det h\u00e4r projektet \u00e4r gjorda f\u00f6r att belysa dessa subtiliteter, centrerade runt ett antal kompositioner, improvisationer, konstn\u00e4rliga samarbeten och ljudinstallationer. Med anv\u00e4ndande av modul\u00e4ra synthesisers, f\u00e4ltinspelningar, piporgel, multikanalupps\u00e4ttningar; PureData- och SuperColliderprogram, str\u00e5kensembler med vevlira, nyckelharpa eller violin och ljudinstallationer. Valet av instrument och material \u00e4r en efem\u00e4r metafor f\u00f6r Stockholms arkitektur. Slutresultatet \u00e4r en samling musik och ljudverk, gjorda f\u00f6r att belysa den imagin\u00e4ra staden. Tagna som en helhet, skapar verken i projektet en imagin\u00e4r stad \u2013 en m\u00f6jlig version av Den Efem\u00e4ra Staden \u2013 f\u00f6r att kunna argumentera att detta frammanande av ett efem\u00e4rt rum \u00e4r ett s\u00e4tt att st\u00e4rka de boende genom fantasins makt, immuna mot de starka krafter som f\u00f6r\u00e4ndrar livet i Stockholm, med hj\u00e4lp av det dr\u00f6mlika, omformande och flyktiga. Lika \u00f6vertygande f\u00f6r det inre \u00f6gat som tegelsten och murbruk \u00e4r i den yttre v\u00e4rlden.<\/jats:p>\n keywords: electroacoustic music, sound art, violin, psychogeography, activism, field recording, organ, improvised music, architecture, urban studies, improvisation<\/jats:p>","DOI":"10.22501\/rc.1361322","type":"posted-content","created":{"date-parts":[[2023,1,5]],"date-time":"2023-01-05T09:03:59Z","timestamp":1672909439000},"source":"Crossref","is-referenced-by-count":0,"title":["The Ephemeral City: Songs for the Ghost Quarters"],"prefix":"10.22501","author":[{"family":"Katt Hernandez","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:11Z","timestamp":1784282351000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1361322\/1361323"}},"issued":{"date-parts":[[2023,10,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1361322","published":{"date-parts":[[2023,10,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:31Z","timestamp":1742358151587,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0040","type":"journal-article","created":{"date-parts":[[2020,12,27]],"date-time":"2020-12-27T16:38:42Z","timestamp":1609087122000},"source":"Crossref","is-referenced-by-count":0,"title":["Rezension zum Buch von Karin Mairitsch: Helmi Vent \u2013 Lab Inter Arts. Einblicke in das Performance-Labor 'Ha\u0308tte Ha\u0308tte Fahrradkette'"],"prefix":"10.22501","author":[{"given":"Silvia","family":"Henke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,12,27]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:11Z","timestamp":1742292191000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/de\/rezension-zum-buch-von-karin-mairitsch-helmi-vent-lab-inter-arts-einblicke-das-performance-labor"}},"issued":{"date-parts":[[2020,12,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0040","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2020,12,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:40Z","timestamp":1784282980112,"version":"3.55.0"},"posted":{"date-parts":[[2021,12,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,12,13]],"date-time":"2021-12-13T00:00:00Z","timestamp":1639353600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition presents findings and outputs from a trans-disciplinary research project involving students and tutors of level 5 BA Architecture and Theatre design courses of NTU.The process of reading, understanding and interpreting the inner character and performative attributes of architecture, and in-depth exploration and expression of spatial practice, are essential aspects for any design intervention on existing buildings for site-specific performance, but they are not enough used for architectural design. The originality of the action research lies in its trans-disciplinary approach and methodology derived from theatre and performance design, aimed at helping Architecture students to engage with the character of architectural spaces as a propaedeutic step of their design. The final goal was not just the resolution of a specific didactic need, but also the realisation of a resource for educators and practitioners, so to fill a gap in the literature of site-specific design methodology. The academic literature regarding site-specific performance, in fact, is more oriented in depicting its historical background, describing past and current practice, than summoning up its methodologies and applications. For this research Moneta designed and planned a series of multidisciplinary learning activities (perception lab, mapping, dramaturgy of the place) using a constructivist approach, within a collaborative design project with level 5 BA Architecture and Theatre design students, involving the exploration of an historical building in Worksop (UK). The research utilised a combination of Active Learning approach, based on Kolb's Experiential Learning and Case-based learning (CBL); a final questionnaire measured the impact of the research: 87.4% of students agreed that this new methodology helped them to design for site-specific places. Moneta summoned the research in a resource for colleagues in the form of a Poster that explained its methodology, identifying nodal points and learning activities to improve design for site-specific in BA level design courses. The research was peer-reviewed as part of PGCAP final assessment, and the Poster was exhibited at TILT showcase 2019.<\/jats:p>\n keywords: site-specific, artistic research, psychogeography, theatre design, architecture<\/jats:p>","DOI":"10.22501\/rc.782070","type":"posted-content","created":{"date-parts":[[2021,12,13]],"date-time":"2021-12-13T09:14:40Z","timestamp":1639386880000},"source":"Crossref","is-referenced-by-count":0,"title":["Engaging with site-specific design through experiential learning and case-based learning"],"prefix":"10.22501","author":[{"family":"Andrea Moneta","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:57Z","timestamp":1784282397000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/782070\/782071"}},"issued":{"date-parts":[[2021,12,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.782070","published":{"date-parts":[[2021,12,13]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:51Z","timestamp":1784282991041,"version":"3.55.0"},"posted":{"date-parts":[[2024,4,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,4,27]],"date-time":"2024-04-27T00:00:00Z","timestamp":1714176000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u00bfExiste un arte autista diferencial? A trav\u00e9s de esta pregunta de investigaci\u00f3n nos adentramos en un trabajo de investigaci\u00f3n polifac\u00e9tico que hace especial hincapi\u00e9 en la fenomenolog\u00eda. Como suelo decir, \"conocimiento sentido y le\u00eddo\". Esta investigaci\u00f3n es un autodenominado \"laboratorio espectral\" no finalista. Esto quiere decir que no buscamos un final (una obra), sino que del proceso se generan objetos y pr\u00e1cticas, preguntas y respuestas.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2544918","type":"posted-content","created":{"date-parts":[[2024,4,27]],"date-time":"2024-04-27T01:57:22Z","timestamp":1714183042000},"source":"Crossref","is-referenced-by-count":0,"title":["Arte y Autismo"],"prefix":"10.22501","author":[{"family":"Antonio Puertas-Banegas","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:47Z","timestamp":1784282327000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2544918\/2729764"}},"issued":{"date-parts":[[2024,4,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2544918","published":{"date-parts":[[2024,4,27]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995532,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatiotemporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.Locked in a people experienced anxieties around the unknown uncertain unravellings of the outside and the loneliness of isolation in the inside of their four walls.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1281698","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T03:07:28Z","timestamp":1622689648000},"source":"Crossref","is-referenced-by-count":0,"title":["Loneliness- Anxiety"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:09Z","timestamp":1784282409000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1281698\/1281699"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1281698","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:04Z","timestamp":1784286244672,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","license":[{"start":{"date-parts":[[2019,1,18]],"date-time":"2019-01-18T00:00:00Z","timestamp":1547769600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2019,1,18]]},"abstract":"\"The Body + the Lens: Shrink, Wax, Purge, Bleach\" was a creative practice research project that investigated the relationship of (white) women\u2019s embodiment to the lens of gendered advertising. To focus the research, a recently mainstreamed group of female cosmetic rituals were chosen \u2014 body-contour wear (SPANX), Brazilian waxing, salt-water cleansing, and fake tanning. The intent of the research was to interrogate the relationship between these body-correcting practices and the idealized image of the \"Glossy Magazine Girl\" \u2014 i.e. preternaturally thin, hairless, and unblemished by shades darker than pink \u2014 which now appear with more frequency in women\u2019s everyday life, and have reconfigured the social construction of female gender. The (artistic-research) response to the subject matter was a series of video and photographic works in the genre of self-portraiture. These works attempted to critique the new norms of embodiment emerging through these practices through the researcher\u2019s parodic undergoing of the cosmetic rituals themselves. This \"carnal\" methodology, following from the methodology of Louis Wacquant, is one that embodies the researcher in the social practices being researched, i.e. body-correcting practices. This method produced research results \u2014 embodied and affective \u2014 not available to purely observational research, which should interest the artistic research community and feminism generally. The images and videos de-fetishize and denaturalize the embodied product of the cosmetic rituals. My studio-led research reveals the intractable, comic \"failures\" in the face of the demands placed on the everyday performance of women\u2019s gender. By doing so, it turns these failures to affirmation, as well as critique of the gender norm these practices construct.<\/jats:p>\n keywords: feminism, art, creative practice research, video, video art, feminist art, parasocial interaction theory, carnal sociology, commodity fetishizm, commercial photography, media studies, feminist media studies, artistic research, the male gaze, feminist epistemology, the female gaze, contemporary art<\/jats:p>","DOI":"10.22501\/jar.493639","type":"journal-article","created":{"date-parts":[[2019,1,18]],"date-time":"2019-01-18T07:45:56Z","timestamp":1547797556000},"source":"Crossref","is-referenced-by-count":0,"title":["The Body + The Lens: Shrink, Wax, Purge, Bleach."],"prefix":"10.22501","author":[{"family":"Tyler Payne","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/493639\/493640"}},"issued":{"date-parts":[[2019,1,18]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/jar.493639","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2019,1,18]]}},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:21:56Z","timestamp":1725927716603},"posted":{"date-parts":[[2024,9,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"very abstract<\/jats:p>","DOI":"10.22501\/rc.2993685","type":"posted-content","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T20:41:55Z","timestamp":1725914515000},"source":"Crossref","is-referenced-by-count":0,"title":["mijn liefje shivani"],"prefix":"10.22501","author":[{"family":"truckspotter.2000","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T21:37:12Z","timestamp":1725917832000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2993685\/2993686"}},"issued":{"date-parts":[[2024,9,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2993685","published":{"date-parts":[[2024,9,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:56Z","timestamp":1784289836155,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2018,6,5]],"date-time":"2018-06-05T00:00:00Z","timestamp":1528156800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,6,5]]},"abstract":"Intersecting Environmental Humanities (HE) and the New Materialism (NM), this article proposes a specific approach to forms, metamorphoses, and uncertain futures. We favour an approach incorporating aesthetic dimensions, as well as theories from the NM, to propose the conceptual expression of \u201cenvironmental forms\u201d, in order to renew the often techno-centric environmental analysis and research in the field of humanities and social sciences. We intend to focus on the process of \u201cenvironmentalization\u201d, considered distinct from a usual definition of humanity as ontologically separate from other living beings, and ascribed in a traditional opposition between nature and culture. This process of creating environments means to build a system that unites the stakeholders with variations in time and space. In the first section, we will discuss the question of forms, whose history is strongly associated with the history of art and aesthetics (Goethe Kant, etc.). Secondly, we will try to highlight the contributions of Karen Barad\u2019s theories on intra-agentivity regarding the issue of environmental forms. In a last section, we will highlight how spontaneous environmental forms such as community gardens, or animals in cities, as well as contemporary \u201cgreen\u201d urban planning is a way to take into account environmental forms as a way to co-produce \u201cnatureculture\u201d in cities.<\/jats:p>\n keywords: Environmental metamorphosis<\/jats:p>","DOI":"10.22501\/ruu.371052","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:28Z","timestamp":1538221768000},"source":"Crossref","is-referenced-by-count":1,"title":["Environmental forms, from a theoretical perspective to concrete case studies in urban planning"],"prefix":"10.22501","author":[{"family":"Nathalie Blanc","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Fr\u00e9d\u00e9ric Barbe","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:16:07Z","timestamp":1784286967000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/371052\/371053"}},"issued":{"date-parts":[[2018,6,5]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.371052","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,6,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:19Z","timestamp":1784286199637,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T00:00:00Z","timestamp":1640822400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2021,12,30]]},"abstract":"The A\u2234418 is a method for the systematization of the interpretative musical conception, oriented to the study of musical interpretation. Through the application of two analysis techniques, the researcher demonstrates the expressive idealization and the respective technical configurations of the sound narrative that he builds, as an interpreter, from the original musical text of the composer. At the end, a final score is produced in which both the composer and interpreter\u2019s details appear. This methodological proposal aims to fill a gap regarding the lack of specific strategies that allow the production of knowledge about this interpretive musical practices, in an objective and verifiable way. The results of applying this method suggest a contributory potential with artistic, scientific, pedagogical and technological implications.<\/jats:p>\n keywords: systematization method, interpretative musical conception, interpretive musical analysis, research in musical interpretation, innovation and technological development in music<\/jats:p>","DOI":"10.22501\/jar.949733","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T09:26:02Z","timestamp":1640856362000},"source":"Crossref","is-referenced-by-count":0,"title":["A\u2234418: Um Contributo para a Pesquisa Art\u00edstica em M\u00fasica"],"prefix":"10.22501","author":[{"family":"Vasco Alves","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:04:29Z","timestamp":1784282669000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/949733\/949734"}},"issued":{"date-parts":[[2021,12,30]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jar.949733","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2021,12,30]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:38Z","timestamp":1784369018451,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2023,3,14]],"date-time":"2023-03-14T00:00:00Z","timestamp":1678752000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2023,3,14]]},"abstract":"Altodi Poltodi thinks through aspects of permeability and preservation, provoking an image of shadowy protector figures. How do they interact with a landscape, what could they want to protect and where do they mark their boundary lines? Drawing from the ancient stories of Rakhandars, mythic beings that guard or protect Goan villages, this collaborative process weaves personal stories with the land and history of Goa. Altodi Poltodi began as a conversation between two friends on a bridge over a river, in a state of suspension, connecting two shores \u2013 those of memory and the present.<\/jats:p>\n keywords: artistic research, Art Installation, everyday, Environment, socially engaged art<\/jats:p>","DOI":"10.22501\/vis.1647061","type":"journal-article","created":{"date-parts":[[2023,3,14]],"date-time":"2023-03-14T07:37:06Z","timestamp":1678779426000},"source":"Crossref","is-referenced-by-count":0,"title":["Altodi Poltodi (This shore, That shore)"],"prefix":"10.22501","author":[{"family":"Savyasachi Anju Prabir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Amrita Barua","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:09Z","timestamp":1784365869000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1647061\/1945266"}},"issued":{"date-parts":[[2023,3,14]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/vis.1647061","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2023,3,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984537,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,11]],"date-time":"2026-03-11T00:00:00Z","timestamp":1773187200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"THIRST\/For Knowledge addresses water as a multifaceted communicator of knowledge between human bodies, AI and the earth. Combining data, field recordings, commissioned texts, voice and musical composition, THIRST\/For Knowledge elaborates as a constantly evolving immersive soundscape in which the visitor encounters new meaning about the coexistence of multiple intelligences in this new age.The artwork takes as its point of departure Korea\u2019s position at the forefront of AI datacentre advances. Jeollanam-do Province has recently been announced as the site for Asia\u2019s largest AI datacentre, with construction planned to begin in autumn 2025. The new datacentre will employ cutting edge advances in smart resource use, addressing one of the largest challenges of AI - its demand for water as a coolant. Taking the life of water as a medium of communication, building upon the idea of water having a \u201cmemory\u201d, THIRST\/For Knowledge will explore the movement of water and the knowledge it can convey between the physical manifestations or \u201cbodies\u201d of AI, humans and more-than-humans.The artwork combines aesthetics from environmental field recordings with augmentation and composition by AI. In so doing, the immersive soundscape explores the rhythms that emerge through watery communications between \u201cbodies\u201d and reflects on the different understanding that AI, ecosystems and humans have of these rhythms, shining a light on the consequences of coexisting intelligences and their collaborative meaning-making as they shape the future of \/life\/on earth.<\/jats:p>\n keywords: water, infrastructure, ai, social justice, ecology, hydrofeminism<\/jats:p>","DOI":"10.22501\/rc.3845755","type":"posted-content","created":{"date-parts":[[2026,3,11]],"date-time":"2026-03-11T02:38:18Z","timestamp":1773196698000},"source":"Crossref","is-referenced-by-count":0,"title":["THIRST\/For Knowledge"],"prefix":"10.22501","author":[{"family":"Kat F Austen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:01Z","timestamp":1784282221000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3845755\/3845756"}},"issued":{"date-parts":[[2026,3,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3845755","published":{"date-parts":[[2026,3,11]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:54Z","timestamp":1784286354093,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2024,3,28]],"date-time":"2024-03-28T00:00:00Z","timestamp":1711584000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,3,28]]},"abstract":"As an artist working often with audio walks I often have the nagging thought: does using headphones to present sound in public space immerse the listener in a bubble, separating them from their surroundings?This research looks at the form of the audio walk and the possibilities of using binaural recording, narrative devices and locative media to prioritise engagement with the environment. In addition it documents the re-activation of an older work of mine in a app using geo-location and it collects documentation of a number of walk-pieces including scripts, audio files, maps and other background information.Lectorate Music, Education and Society, Koninklijk Conservatorium, Den Haag. 2023-24<\/jats:p>\n keywords: Audio walks, art in public space, Binaural, headphones, Sledgidity, Dark Sonology, occultism, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/koncon.2337379","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:20Z","timestamp":1725906980000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening to \/ in Public Space"],"prefix":"10.22501","author":[{"family":"Justin Bennett","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:28:50Z","timestamp":1784284130000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2337379\/2337380"}},"issued":{"date-parts":[[2024,3,28]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2337379","published":{"date-parts":[[2024,3,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:05Z","timestamp":1784286305153,"version":"3.55.0"},"posted":{"date-parts":[[2023,7,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,7,19]],"date-time":"2023-07-19T00:00:00Z","timestamp":1689724800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Name: Giuseppe SapienzaMain Subject: Classical ClarinetResearch Supervisor: Wouter VerschurenTitle of the Research: An Embouchure Aid for Wind MusiciansResearch Question: Assessing whether playing a wind instrument can change tooth position and investigate the effectiveness of an embouchure support device to provide dental support.This study was inspired by the author's personal experience of discomfort and pain while playing the clarinet and aims to investigate the potential relationship between dental health and clarinet playing, specifically the impact of the mouthpiece on tooth position and stability.A literature review of previous studies on the connection between wind instruments and tooth movement was conducted. The author collaborated with two professional dentists to develop an embouchure support device called PlayAid. The device was prototyped and tested by the author with a positive outcome.The study found a correlation between playing the clarinet and an increased risk of dental problems, including tooth mobility, erosion, and discomfort. The upper incisors were the most commonly affected teeth. The literature review showed that playing wind instruments can cause changes in tooth position, specifically an increase in overjet.Based on the results of this study, it can be concluded that an embouchure support device, like PlayAid, can effectively provide dental support for players with dental problems but also for those who exclusively seek better embouchure comfort and sound quality.The chosen format of a presentation will be a public exposition of the results of the research with a live demonstration of PlayAid.<\/jats:p>\n keywords: Clarinet, Embouchure, Dental Problems, Pain, Embouchure Pain, Dental Support, Saxophone, Oboe, Embouchure Aid, Dental Mobility, Clarinet Embouchure, wind player, wind, Embouchure Problems, Problems, Teeth, Lips<\/jats:p>","DOI":"10.22501\/koncon.1947638","type":"posted-content","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:37Z","timestamp":1725906997000},"source":"Crossref","is-referenced-by-count":0,"title":["An Embouchure Aid for Wind Musicians"],"prefix":"10.22501","author":[{"family":"Giuseppe Sapienza","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:19:38Z","timestamp":1784283578000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1947638\/1947639"}},"issued":{"date-parts":[[2023,7,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/koncon.1947638","published":{"date-parts":[[2023,7,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:45Z","timestamp":1784282985736,"version":"3.55.0"},"posted":{"date-parts":[[2024,1,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,1,17]],"date-time":"2024-01-17T00:00:00Z","timestamp":1705449600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Este ensaio \u00e9 um resultado dos exerc\u00edcios feitos ao longo da disciplina \u201cPensamento em Arte Atual\u201d, parte do curso de doutoramento em Artes Pl\u00e1sticas da Faculdade de Belas Artes da Universidade de Porto, 2023\/2024, sob orienta\u00e7\u00e3o da professora Filipa Cruz. Trata-se de uma apropria\u00e7\u00e3o da obra \u201cNaufr\u00e1gio com Espectador\u201d, de Hans Blumenberg, pelo estabelecimento de paralelos entre a met\u00e1fora do naufr\u00e1gio e as experi\u00eancias das pr\u00e1ticas art\u00edsticas e daquelas relacionadas \u00e0 investiga\u00e7\u00e3o acad\u00eamica em artes. Na primeira parte do ensaio, \u201cO grande marujo que sempre naufraga\u201d, parto do mote \u201co que resta ao n\u00e1ufrago\u201d, t\u00edtulo do segundo cap\u00edtulo do livro de Blumenberg, para discutir, de maneira geral, as aventuras e desventuras do artista\/investigador diante dos riscos de fracasso, numa alegoria \u00e0s odisseias mar\u00edtimas da literatura universal. J\u00e1 o segundo trecho do ensaio, \u201cagora submerso em ondas eletromagn\u00e9ticas\u201d, \u00e9 mais aplicado \u00e0 pesquisa que eu, particularmente, venho desenvolvendo no doutoramento: o uso de tecnologias ditas de \u201cintelig\u00eancia artificial\u201d para a cria\u00e7\u00e3o de obras de arte generativas pela intera\u00e7\u00e3o cibern\u00e9tica, entre humano e m\u00e1quina. Neste cap\u00edtulo fa\u00e7o uso de refer\u00eancias da cultura pop, nomeadamente obras de fic\u00e7\u00e3o cient\u00edfica que introduzem o elemento da IA nas narrativas her\u00f3icas contempor\u00e2neas. Para trazer materialidade ao que \u00e9 tratado no texto, apresento duas experi\u00eancias pr\u00e1ticas de cria\u00e7\u00e3o de c\u00f3digos de programa\u00e7\u00e3o destinados \u00e0 gera\u00e7\u00e3o de obras de arte generativa pelo m\u00e9todo que proponho em minha investiga\u00e7\u00e3o. Como procedimento de transpar\u00eancia do processo de cria\u00e7\u00e3o, apresento links externos para que se tenha acesso \u00e0 vers\u00e3o das obras em sua vers\u00e3o em html, \u00e0s trocas de mensagem com a ferramenta de intelig\u00eancia artificial utilizada, \u00e0 integridade do c\u00f3digo de programa\u00e7\u00e3o da vers\u00e3o final do projeto e ao hist\u00f3rico de vers\u00f5es que o c\u00f3digo teve ao longo de todo seu desenvolvimento. As obras apresentadas t\u00eam como tema o \u201cnaufr\u00e1gio mar\u00edtimo\u201d e o \u201cnaufr\u00e1gio espacial\u201d, relacionadas \u00e0s duas partes em que se divide o texto. Ao final, ainda apresento uma montagem que re\u00fane trechos das duas obras em uma \u00fanica materialidade, a vis\u00e3o de um horizonte do c\u00e9u e do mar.This essay is a result of exercises undertaken during the course \"Thinking in Contemporary Art\", part of the doctoral program in Fine Arts at the Faculty of Fine Arts, University of Porto, 2023\/2024, under the guidance of Professor Filipa Cruz. It involves an appropriation of Hans Blumenberg's work \"Shipwreck with Spectator\" by establishing parallels between the metaphor of shipwreck and the experiences of artistic practices and those related to academic research in the arts. In the first part of the essay, \"the great sailor who always sinks,\" I start with the theme \"what the shipwrecked person is left with\", the title of the second chapter of Blumenberg's book, to discuss, in a general sense, the adventures and misadventures of the artist\/researcher facing the risks of failure, an allegory to the maritime odysseys of universal literature. The second part of the essay, \"now submerged in electromagnetic waves\", is more applied to the research I have been developing in the doctoral program: the use of so-called \"artificial intelligence\" technologies for the creation of generative artworks through cybernetic interaction between humans and machines. In this chapter, I make use of references from pop culture, particularly works of science fiction that introduce the element of AI into contemporary heroic narratives. To give materiality to what is discussed in the text, I present two practical experiences of creating programming codes for generating generative artworks by the method proposed in my research. As a transparency procedure in the creation process, I provide external links to access the works in their html version, exchanges with the AI tool used, the integrity of the programming code of the final version of the project, and the version history that the code had throughout its development. The presented works focus on the themes of \"maritime shipwreck\" and \"space shipwreck,\" related to the two parts in which the text is divided. In the end, I also present a montage that brings together excerpts from the two works into a single materiality, the view of a horizon of the sky and the sea.<\/jats:p>\n keywords: generative art, methodology, creative practice research<\/jats:p>","DOI":"10.22501\/rc.2442687","type":"posted-content","created":{"date-parts":[[2024,1,17]],"date-time":"2024-01-17T17:49:01Z","timestamp":1705513741000},"source":"Crossref","is-referenced-by-count":0,"title":["Naufr\u00e1gio Mar\u00edtimo | Naufr\u00e1gio Espacial"],"prefix":"10.22501","author":[{"family":"Tobias Gaede","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:57Z","timestamp":1784282337000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2442687\/2462010"}},"issued":{"date-parts":[[2024,1,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2442687","published":{"date-parts":[[2024,1,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:52Z","timestamp":1784283052215,"version":"3.55.0"},"posted":{"date-parts":[[2014,8,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2014,8,27]],"date-time":"2014-08-27T00:00:00Z","timestamp":1409097600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research focuses on bringing bak the the viewpoint of the composer back into a performer's work<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.29661","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:54:46Z","timestamp":1498053286000},"source":"Crossref","is-referenced-by-count":0,"title":["The Composer\/performer tradition, restoring an old tradition"],"prefix":"10.22501","author":[{"family":"Joao Carlos Ferreira de Miranda Santos","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:04Z","timestamp":1784282464000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/29661\/29662"}},"issued":{"date-parts":[[2014,8,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.29661","published":{"date-parts":[[2014,8,27]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:36Z","timestamp":1784286456219,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Jean-Loup GagnonMain Subject: HarpsichordResearch Supervisors: Bert Mooiman, Peter Van HeyghenTitle of Research: To beat or not to beat: reflections on musical leadership practices in the 18th century Research Question: What did musical leadership mean in the 18th century?Summary of Results:In the last century, historically informed performance practice has gained more and more popularity within the musical scene. In fact, musicians have being increasingly interested in historical articulation, phrasing, instrumentation, ornamentation, tempi, etc. Surprisingly, historical conducting practices have not been significantly investigated and hardly ever in a practical way. It may be the reason why there is a lack of experimentation in this domain, why even Early Music ensembles are using the modern way of conducting, which is to have an interpretative conductor that stands in front of the group. Would it not also be relevant to know how composers like Mozart, Handel or Bach would have \u201cconducted\u201d their works? Did Mozart conduct his wind serenade \u201cGran partita\u201d by making gestures like we can see in Forman's movie Amadeus? Can we learn from their practical experience? This research demystifies conducting practices in the 18th century and brings a practical to the subject. Biography:Currently pursuing a Master\u2019s degree in maestro al cembalo at the Royal Conservatoire of The Hague, Jean-Loup Gagnon studies improvisation and leadership from the harpsichord with Patrick Ayrton and harpsichord performance with Fabio Bonizzoni. His researches focus on leadership practices in the 17th, 18th, and 19th centuries and on stylistic streams like the Mannheim School and the Galant Style, which constituted the musical grammar for genius composers such as Mozart.<\/jats:p>\n keywords: Conducting, leadership, 18th century, opera, Kapellmeister, concertmaster<\/jats:p>","DOI":"10.22501\/koncon.215257","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:45:46Z","timestamp":1725907546000},"source":"Crossref","is-referenced-by-count":0,"title":["To beat or not to beat"],"prefix":"10.22501","author":[{"family":"Jean-Loup Gagnon","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:50:36Z","timestamp":1784285436000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/215257\/215258"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.215257","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:04Z","timestamp":1784286304115,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"This paper discusses an exploration of collaborative methods for performers and composers, from an individual study to group trials, to offer suggestions for future collaborations. This was conducted with a goal of breaking down the conventional hierarchy of the composer \u2013 interpreter commissioning process and giving all parties creative agency to create a work which one of them could create on their own. This research began with a personal collaboration trial involving the author, harpist Margarida Martins, and composer Robin Fiedler in which they explored different methods of working together to compose a suite. Following this, recommendations were taken and applied to trials conducted with other musicians in a shorter time frame, in which they composed singular movements collectively. From this it can be derived that improvisation surrounding an agreed upon external theme serves as an effective method of generating material, but without composition training, most performers and composers revert to traditional roles after initial material is generated and refined. The impact of the poetry and images, though difficult to measure directly, was felt palpably by most groups. Groups benefitted greatly from structure, both the individual trial and group trials. From this, specific recommendations can be made for groups wishing to work collaboratively and for individuals seeking out collaborative partners for music composition.<\/jats:p>\n keywords: collaboration, composition, improvisation<\/jats:p>","DOI":"10.22501\/koncon.3321175","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:08:47Z","timestamp":1779800927000},"source":"Crossref","is-referenced-by-count":0,"title":["Music with Friends: Stepping Stones Towards a Guidebook for Performer \u2013 Composer Collaboration"],"prefix":"10.22501","author":[{"family":"Jack Price","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:21:11Z","timestamp":1784283671000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3321175\/4027079"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3321175","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:48Z","timestamp":1784286348967,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,7,6]],"date-time":"2023-07-06T00:00:00Z","timestamp":1688601600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,7,6]]},"abstract":"In 2000, I took part in a project performing all of W.A. Mozart\u2019s (1756-1791) Salzburg divertimentos for strings and winds in the quaint town of Delft in the Netherlands. In attempting to keep true to authentic performance practices we played on period instruments with one player to a part and most significantly the bass line was to be performed solely on the double bass; thus, no cello and no cello\/double bass doubling of the bass line.1 Some of my colleagues involved in this project found this to be quite a \u2018radical\u2019 idea, for in chamber music settings many musicians are accustomed to the cello as the bass instrument of choice, and depending on the repertoire, a double bass might double the line, but double bass alone\u2026impossible! Indeed most recordings I have heard of these pieces have been performed by a chamber orchestra or as chamber music with the bass line performed by a cello and double bass.<\/jats:p>\n keywords: Wolfgang Amadeus Mozart, divertimento, Viennese double bass, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.1411699","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:43Z","timestamp":1725907003000},"source":"Crossref","is-referenced-by-count":0,"title":["Divertimento Sextet"],"prefix":"10.22501","author":[{"family":"Robert Franenberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:30:05Z","timestamp":1784284205000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1411699\/2127710"}},"issued":{"date-parts":[[2023,7,6]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1411699","published":{"date-parts":[[2023,7,6]]}},{"indexed":{"date-parts":[[2023,10,14]],"date-time":"2023-10-14T05:19:13Z","timestamp":1697260753719},"posted":{"date-parts":[[2023,10,13]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.2336510","type":"posted-content","created":{"date-parts":[[2023,10,13]],"date-time":"2023-10-13T15:10:36Z","timestamp":1697209836000},"source":"Crossref","is-referenced-by-count":0,"title":["This is a test"],"prefix":"10.22501","author":[{"family":"Obelix (test)","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2023,10,13]],"date-time":"2023-10-13T15:10:37Z","timestamp":1697209837000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2336510\/2336648"}},"issued":{"date-parts":[[2023,10,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2336510","published":{"date-parts":[[2023,10,13]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030954,"version":"3.55.0"},"posted":{"date-parts":[[2024,4,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,4,23]],"date-time":"2024-04-23T00:00:00Z","timestamp":1713830400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is a research project into building an artist book that uses typographic devices and page layout in construction a multilayered narrative. Everyday life and actual events are part of of the narrative backbone and this is mostly photographic material. Another layer consists on dialogues (verbal, email, etc) between 2015- and ongoing between the two researchers involved in the project. This is language-based written material. Third layer is the thematic context in building the actual book which happens in the academic presentations, performances and knowledge disseminations.<\/jats:p>\n keywords: artist book, narrative, deconstruction, estrangement, page, layout, typography, language artifacts, language-based research<\/jats:p>","DOI":"10.22501\/rc.2738044","type":"posted-content","created":{"date-parts":[[2024,4,23]],"date-time":"2024-04-23T03:26:11Z","timestamp":1713842771000},"source":"Crossref","is-referenced-by-count":0,"title":["And _ Blinkbonny Avenue and strangeness of everyday life"],"prefix":"10.22501","author":[{"family":"Niina Marjatta Turtola","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:47Z","timestamp":1784282327000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738044\/2738045"}},"issued":{"date-parts":[[2024,4,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2738044","published":{"date-parts":[[2024,4,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:38Z","timestamp":1784286518297,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,30]]},"abstract":"T\u00e4ss\u00e4 ekspositiossamme esittelemme veden-kanssa-kirjoittamisen praktiikkaamme kirjoittamisen taiteellisena tutkimuksena, poeettisena etsint\u00e4n\u00e4. Veden-kanssa-kirjoittaessamme olemme tarkastelleet suhdettamme veteen, my\u00f6s vesiin sis\u00e4ll\u00e4mme, sek\u00e4 yksil\u00f6llisesti ett\u00e4 yhdess\u00e4 erilaisia tekstej\u00e4 tuottaen. Ekspositiossamme esittelemme t\u00e4m\u00e4n taiteellisen praktiikan tuotoksia sek\u00e4 reflektoimme niit\u00e4 poeettisia, poliittisia ja pedagogisia suuntia, joita veden-kanssa-kirjoittaminen voi avata \u2013 sek\u00e4 meille ett\u00e4 laajemmin, maailmalle. Teoreettisia l\u00e4ht\u00f6htiamme ovat feministinen posthumanismi ja uusmaterialismi sek\u00e4 niiden piiriss\u00e4 harjoitettu hydrofeminismi. Lis\u00e4ksi suhteutamme veden-kanssa-kirjoittamista keskusteluihin feministisest\u00e4 pedagogiikasta, taiteilijapedagogiikasta ja ymp\u00e4rist\u00f6pedagogiikasta sek\u00e4 veden merkityksist\u00e4 kirjallisuudessa. Uskomme, ett\u00e4 runouden avulla voi kielent\u00e4\u00e4 sellaisia kokemuksia, joita on muutoin vaikea muotoilla sanoiksi. V\u00e4it\u00e4mme, ett\u00e4 hankalasti sanallistettavien kokemusten poeettinen kielent\u00e4minen tuottaa ymm\u00e4rryksi\u00e4 ihmisten suhteista enemm\u00e4n-kuin-inhimilliseen, kuten siit\u00e4, miten tehd\u00e4 taidetta muuttuvassa maailmassa, eettisess\u00e4 suhteessa enemm\u00e4n-kuin-inhimilliseen.In English:\"On Becoming Sensitized - Practices and Orientations for Writing-with-water as Artist Pedagogy\"In this exposition, we explore what we call 'writing-with-water', a practice of artistic research in writing, a \"poetic search\". While writing-with-water, we have explored our relationship(s) with water \u2013 including the waters within us \u2013 both individually and together, producing different texts. Here, we share our artistic explorations and reflect on the poetic, political, and pedagogical directions our artistic practice and research opens up. Our theoretical starting points are feminist posthumanism and new materialism, but we also discuss our method in the context of hydrofeminism (as part of the aforementioned theoretical frameworks), feminist pedagogy, artist pedagogy, and environmental pedagogy, as well as the literary meanings and uses of water. It is our belief that through poetic practices and explorations, it is possible to express experiences that are otherwise difficult to put into words. We claim that these experiences, and the ways they are expressed in poetic language, can lead to better understandings of human relationships with the more-than-human; including how to make art ethically with the more-than-human in our rapidly changing world.<\/jats:p>\n keywords: writing-with-water, feminist posthumanism, hydrofeminism, environmental pedagogy, feminist pedagogy, becoming sensitized, artist pedagogy, practice-based literary studies, creative writing, new materialisms, veden-kanssa-kirjoittaminen, enemm\u00e4n-kuin-ihminen, enemm\u00e4n-kuin-inhimillinen kirjoittaminen, feministinen posthumanismi, hydrofeminismi, feministinen pedagogiikka, herkistyminen, taiteilijapedagogiikka, ymp\u00e4rist\u00f6pedagogiikka, kirjoittaminen taiteellisena tutkimuksena, uusmaterialismi, Writing as artistic research<\/jats:p>","DOI":"10.22501\/ruu.3010541","type":"journal-article","created":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:43:23Z","timestamp":1767095003000},"source":"Crossref","is-referenced-by-count":0,"title":["Herkistymisest\u00e4 \u2013 Harjoitelmia ja suuntia veden-kanssa-kirjoittamisen taiteilijapedagogiikkaan"],"prefix":"10.22501","author":[{"family":"Aino-Kaisa Koistinen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Susi Mikael Nousiainen","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:02:16Z","timestamp":1784286136000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3010541\/3010542"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3010541","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2025,12,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:42Z","timestamp":1784286342950,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,7,4]],"date-time":"2024-07-04T00:00:00Z","timestamp":1720051200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,7,4]]},"abstract":"This research explores the concept of authenticity in transcription. It is applied to B\u00e9la Bart\u00f3k's Six Dances in Bulgarian Rhythm, movements one, two and five. By prioritising different aspects, the overall look of the transcription is shaped. Examples of these aspects are the sonic possibilities of the chosen or original instrumentation, the general style of the composer and the piece, one's own musical context, the technical abilities of the players... All these aspects could be considered as a form of authenticity. The first chapter elaborates on the concept and discusses methods of transcription. The second chapter analyses the history of the classical guitar, including its transcriptions. The guitar's search for a place in the classical mainstream has encouraged guitarists throughout the centuries to write transcriptions. Throughout history, the concept of authenticity in these transcriptions has changed. The final chapter discusses the entire process of transcribing, from the intentions behind selecting the piece to the obstacles and dilemmas that arose during the process. It shows that the transcribing part is as important as the individual practice and rehearsals. They alternate and influence each other. The Six Dances in Bulgarian Rhythm were of great importance to Bart\u00f3k. Today they are not as popular as his Six Romanian Folk Dances but given their historical context they deserve to be heard more in today's classical music scene. Finally, it becomes clear that the abstract musical idea of the composer should be kept clear from the beginning to the end of the transcription process.<\/jats:p>\n keywords: Guitar, Classical guitar, transcriptions, arrangements, transcribing, Arranging, Authenticity, B\u00e9la Bart\u00f3k<\/jats:p>","DOI":"10.22501\/koncon.2577321","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:35:49Z","timestamp":1725906949000},"source":"Crossref","is-referenced-by-count":0,"title":["Authenticity in Transcribing"],"prefix":"10.22501","author":[{"family":"Marie-Lou Debels","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:26:49Z","timestamp":1784284009000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2577321\/2577322"}},"issued":{"date-parts":[[2024,7,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2577321","published":{"date-parts":[[2024,7,4]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:51Z","timestamp":1784286531002,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2015,5,28]],"date-time":"2015-05-28T00:00:00Z","timestamp":1432771200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,5,28]]},"abstract":"Name: Leonie FreudenbergerMain Subject: Jazz SaxophoneResearch Coach: Karst de JongTitle of Research: Approaching jazz composition through the music of Billy StrayhornResearch Question:What are the most important elements of Billy Strayhorn's compositions? How can I incorporate his compositional approach in my own writing? Billy Strayhorn (1915\u20131976) was a jazz pianist, composer, arranger, orchestrator and lyricist whose works have influenced the genre of jazz music until today.The research contains two phases: First, the analysis of his compositions. Second, the attempt to compose originals using the detected stylistic, harmonic, melodic and conceptional tools.Considering the enormous oeuvre that Strayhorn produced, it is inevitable to make a selection of songs to analyze. My criteria for this selection are the following:Which songs have become part of the standard repertoire in jazz, performed by various artists throughout the 20th (and 21st) century?Where can I find aural trademarks, which I recognize both as a listener and as a player and which contribute to my personal perception of the \u201cStrayhorn sound\u201d? Can the compositions be reduced to a lead sheet and performed by a small jazz combo without losing their essence?My final intention is not only to compose using Strayhorn-typical elements and tools, but also to write music for myself as a performer and for my group to play it.On longer terms, I hope that I can abstract this method further on and profit from it beyond the results of this research.Biography:Leonie Freudenberger, born 1988 in Baden-Baden (D), has played the alto saxophone since her childhood. She started her professional jazz education at the University of Music in Mannheim in 2008 and came to Den Haag in 2011, where she finished her Bachelor's degree. Apart from her Master studies, she writes music and performs with her own group and takes part in various projects, playing alto and baritone saxophone.<\/jats:p>\n keywords: jazz, Billy Strayhorn, interpretation<\/jats:p>","DOI":"10.22501\/koncon.62908","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:48:57Z","timestamp":1725907737000},"source":"Crossref","is-referenced-by-count":0,"title":["Approaching jazz composition through the music of Billy Strayhorn"],"prefix":"10.22501","author":[{"family":"Leonie Freudenberger","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:56:22Z","timestamp":1784285782000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/62908\/62909"}},"issued":{"date-parts":[[2015,5,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.62908","published":{"date-parts":[[2015,5,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:37Z","timestamp":1784286277786,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2015,8,31]],"date-time":"2015-08-31T00:00:00Z","timestamp":1440979200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,8,31]]},"abstract":"This exposition introduces and analyses the work of British-based IOU Theatre, a company that has been exploring intermedial theatre and installation since 1976. IOU's work, we suggest, is characterised by their particular strategies for juxtaposing or fusing images, materials, and artistic media. We explore this aspect of IOU's practice through the lens of emergent cognition by drawing on Fauconnier and Turner's (2002) theory of conceptual blending.While Fauconnier and Turner's work applies broadly to the process underlying many cognitive acts, their model enables us to develop a nuanced understanding of IOU's particular creative 'blends' and to identify a 'resistance to the blend\u2019 that proves essential to the IOU aesthetic.The authors have included first-person accounts of some of their own cognitive experiences in response to IOU's work as a way to track the application of conceptual blending in the reception and analysis of an artistic artefact or experience.The exposition both introduces to a wider readership examples of IOU's oeuvre and proposes a reading of conceptual blending as a tool for understanding creative processes, analysing artistic artefacts, and discussing audience reception \u2013 in works that particularly exploit creative collisions of imagery or media. In this way, it is our intention to contribute to artistic research a methodology for analysis and a lens through which some key artistic strategies can be illuminated. Our approach may be of interest to those concerned with the making, analysis, or reception of artistic work that is intermedial in the broadest sense.<\/jats:p>\n keywords: theatre, bisociation, performance, IOU, intermedia, conceptual space, conceptual blending, alternative theatre, visual art, fusion, emergent cognition, blending, experiential art, audiences, live art, reception<\/jats:p>","DOI":"10.22501\/jar.49027","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T14:52:53Z","timestamp":1492440773000},"source":"Crossref","is-referenced-by-count":0,"title":["'Beware the Danger of Merging': Conceptual Blending and Cognitive Dissonance in the work of IOU Theatre"],"prefix":"10.22501","author":[{"family":"Deborah Middleton","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Tim Moss","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:14:33Z","timestamp":1784283273000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/49027\/49028"}},"issued":{"date-parts":[[2015,8,31]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/jar.49027","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2015,8,31]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:50Z","timestamp":1784289830428,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T00:00:00Z","timestamp":1558569600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,5,23]]},"abstract":"In my PhD thesis Performing a Tradition in Music and Dance (2014), I analyzed sabar dance events as \u2018places\u2019 for (re)constructing social relationships, identities, and tradition. In these celebrations, the participants in a sense perform themselves and their relationships to others present, embodying communal conceptions of their social roles and the related norms and values, but sometimes also challenging them. These performances of self can thus primarily be identified as cultural performatives, following Butler, but they still happen in the frame of the dance event, which allows also expressions deviating from the performatives of everyday situations. Here, I will consider how the modes of performance in sabar dance events can be characterized in addition to the obvious repetition and variation of traditional dance genres. Additionally, I will reflect on the value of practical involvement in performance as a methodological tool in ethnographic fieldwork.<\/jats:p>\n keywords: sabar, tradition, dance, performance, ethnography<\/jats:p>","DOI":"10.22501\/ruu.452941","type":"journal-article","created":{"date-parts":[[2019,5,23]],"date-time":"2019-05-23T07:36:18Z","timestamp":1558596978000},"source":"Crossref","is-referenced-by-count":1,"title":["Practices of Performing at Senegalese Sabar Dance Events"],"prefix":"10.22501","author":[{"family":"Elina Seye","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:14:46Z","timestamp":1784286886000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/452941\/452942"}},"issued":{"date-parts":[[2019,5,23]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/ruu.452941","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,5,23]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:32Z","timestamp":1784365892547,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2023,5,19]],"date-time":"2023-05-19T00:00:00Z","timestamp":1684454400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2023,5,19]]},"abstract":"In the sphere of contemporary composition and performance, the material for composers and musicians is not only sound, but extends to different forms of visuality, objects, movements and language. The Extended Composition project poses some fundamental questions: what new strategies for composition and performance will have to be developed to master the multitude of sign systems emergent from music\u2019s expanded material array? What new significance is emerging from the layers in an extended composition of sound, language and movements, and how do we evaluate it? This presentation contains reflections and presentations of three artistic works done in collaboration between composers, musicians, dancers and other artists. The project group has been Henrik Hellstenius, Tanja Orning, Christian Blom, Ellen Ugelvik and Camilla Eeg-Tverbakk.<\/jats:p>\n keywords: Extended composition, Henrik Hellstenius, Tanja Orning, Ellen Ugelvik, Christian Blom, Camilla Eeg-Tverbakk, Shila Anaraki<\/jats:p>","DOI":"10.22501\/nmh-ar.1896534","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T08:12:11Z","timestamp":1684743131000},"source":"Crossref","is-referenced-by-count":0,"title":["EXTENDED COMPOSITION"],"prefix":"10.22501","author":[{"family":"Henrik Hellstenius","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Camilla Eeg-Tverbakk","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Christian Blom","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ellen Kristine Ugelvik","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Tanja Orning","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:02:06Z","timestamp":1784365326000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1896534\/1896535"}},"issued":{"date-parts":[[2023,5,19]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1896534","published":{"date-parts":[[2023,5,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936966,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,10]],"date-time":"2025-10-10T00:00:00Z","timestamp":1760054400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"AbstractThis exposition investigates musically framed silence by extracting and analyzing auditory data and proposing new analytical strategies to deepen engagement with silence as a compositional element. It reontologizes ambient sound as capable of bearing musical and narrative significance. The study centres on Cageance (accessible at https:\/\/cageance.webflow.io)\u00b9, the author\u2019s web-based international collaboration extending John Cage\u2019s 4\u203233\u2033, exploring how chance-generated environmental sound may function ecologically, musically, and narratively. Using a Cageance performance recorded in Portugal as a case study, the research applies a multimodal analytical framework combining Schaferian soundscape theory, conventional musical analysis (including Schenkerian reduction), and dramatic analysis. Visual mapping methods classify sounds into soundmarks, signals, keynotes, and ecological categories (biophony, geophony, anthrophony), while revealing emergent musical and dramaturgical properties within the soundscape. The study proposes new notational and analytical approaches for non-composed sound, positioning silence not as absence, but as a generative site for compositional and narrative inquiry. These findings contribute to ongoing discourse in sound studies, ecological musicology, and practice-as-research methodologies.\u00b9 The Cageance platform functions best on tablet or desktop devices; headphones are recommended.<\/jats:p>\n keywords: Cagean silence, Cagean Silence, Ambient sound, Soundscape ecology, Dramatic analysis, Schenkerian reduction, Chance operations, Artistic research, The Cageance Project<\/jats:p>","DOI":"10.22501\/rc.3722031","type":"posted-content","created":{"date-parts":[[2025,10,10]],"date-time":"2025-10-10T18:50:31Z","timestamp":1760122231000},"source":"Crossref","is-referenced-by-count":0,"title":["From Silence to Form: An Exposition of Ambient Sound Reontologized through Post-Cagean Analysis"],"prefix":"10.22501","author":[{"family":"Stuart Slater","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:43Z","timestamp":1784282263000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3722031\/3722032"}},"issued":{"date-parts":[[2025,10,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3722031","published":{"date-parts":[[2025,10,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974792,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T00:00:00Z","timestamp":1687737600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"For the 14th SAR conference 2023 in Trondheim, a number of JAR editors prepared contributions and presentations discussing some of the current developments and urgencies that we have been facing. The contribution was live streamed. The following panel discussion can found at the end of the exposition.<\/jats:p>\n keywords: artistic research, publishing, expositionality, urgency, peer-review, AI<\/jats:p>","DOI":"10.22501\/rc.2079976","type":"posted-content","created":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T06:18:34Z","timestamp":1687760314000},"source":"Crossref","is-referenced-by-count":0,"title":["Journal for Artistic Research: Urgencies"],"prefix":"10.22501","author":[{"family":"Journal for Artistic Research","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:25Z","timestamp":1784282365000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2079976\/2079977"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2079976","published":{"date-parts":[[2023,6,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:40Z","timestamp":1784282980111,"version":"3.55.0"},"posted":{"date-parts":[[2022,6,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,6,20]],"date-time":"2022-06-20T00:00:00Z","timestamp":1655683200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"published in: TestTestTestTestTestTestTest<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1693239","type":"posted-content","created":{"date-parts":[[2022,6,20]],"date-time":"2022-06-20T13:18:00Z","timestamp":1655731080000},"source":"Crossref","is-referenced-by-count":0,"title":["Test"],"prefix":"10.22501","author":[{"family":"Emma Cocker","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:49Z","timestamp":1784282389000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1693239\/1693240"}},"issued":{"date-parts":[[2022,6,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1693239","published":{"date-parts":[[2022,6,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993754,"version":"3.55.0"},"posted":{"date-parts":[[2022,10,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,10,9]],"date-time":"2022-10-09T00:00:00Z","timestamp":1665273600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is published as part of Edvin \u00d8stergaard, \u2018Music-in-Becoming\u2019, in \"Practices of Phenomenological and Artistic Research\", (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, 2022], ISSN 1913-4711. See here: https:\/\/journals.library.ualberta.ca\/pandpr\/index.php\/pandpr\/index<\/jats:p>\n keywords: Music Composition, listening, phenomenological method<\/jats:p>","DOI":"10.22501\/rc.1318127","type":"posted-content","created":{"date-parts":[[2022,10,9]],"date-time":"2022-10-09T06:29:50Z","timestamp":1665296990000},"source":"Crossref","is-referenced-by-count":0,"title":["Music-in-Becoming: Close Attention!"],"prefix":"10.22501","author":[{"family":"Edvin \u00d8stergaard","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:44Z","timestamp":1784282384000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1318127\/1318128"}},"issued":{"date-parts":[[2022,10,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1318127","published":{"date-parts":[[2022,10,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977712,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T00:00:00Z","timestamp":1741305600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Denne siden har utdrag fra en samtale og er en refleksjon av et samarbeid jeg hadde med Tatjana Kolpus og Arely Amaut fra 24. mai til 7. juni 2024. Vi ville utforske m\u00e5ter \u00e5 tiln\u00e6rme oss leirelandskapene med respekt og gode intensjoner, basert p\u00e5 praksiser og kosmologier fra v\u00e5re forskjellige bakgrunner. Arely og jeg bes\u00f8kte alle leirelandskapene og ble enige om \u00e5 konsentrere oss om Bryn ved Alnaelva. Vann og elver og dens betydning for forskjellige lokalsamfunn i Lima er noe Arely jobber med i sin egen praksis, og hun har mange erfaringer og kunnskap \u00e5 dele.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, 3D scanning, 3D printing, clay, blueclay, ceremony, offering, leire, ofring, sermoni, samarbeid, collaboration<\/jats:p>","DOI":"10.22501\/rc.3004574","type":"posted-content","created":{"date-parts":[[2025,3,7]],"date-time":"2025-03-07T02:05:47Z","timestamp":1741313147000},"source":"Crossref","is-referenced-by-count":0,"title":["Samtale med Arely Amaut og Tatjana Kolpus"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:17Z","timestamp":1784282297000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3004574\/3004453"}},"issued":{"date-parts":[[2025,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3004574","published":{"date-parts":[[2025,3,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981900,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T00:00:00Z","timestamp":1622592000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.With the pandemic, the tools of Pedagogy had to be restructured and questioned. Here the sense of the field, as well as the tools to make sense of it, were put into the foreground. Meanwhile, crumbling modern institutions themselves began questioning the current tools and methods of learning and evaluating.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1272133","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:14:41Z","timestamp":1684746881000},"source":"Crossref","is-referenced-by-count":0,"title":["Pedagogy- learning-methods-evaluation-experience"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:12Z","timestamp":1784282412000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1272133\/1272134"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1272133","published":{"date-parts":[[2021,6,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:02Z","timestamp":1784283002365,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,9]],"date-time":"2021-06-09T00:00:00Z","timestamp":1623196800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Transcript for NPP 2021 Audio series<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1294447","type":"posted-content","created":{"date-parts":[[2021,6,8]],"date-time":"2021-06-08T20:37:09Z","timestamp":1623184629000},"source":"Crossref","is-referenced-by-count":0,"title":["Nine Sleeps"],"prefix":"10.22501","author":[{"family":"Eva Mohn","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:04Z","timestamp":1784282404000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1294447\/1294448"}},"issued":{"date-parts":[[2021,6,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1294447","published":{"date-parts":[[2021,6,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024179,"version":"3.55.0"},"posted":{"date-parts":[[2020,5,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,5,14]],"date-time":"2020-05-14T00:00:00Z","timestamp":1589414400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Masterprosjekt. Basert p\u00e5 forskning, unders\u00f8kes det hvordan pusten kan brukes som verkt\u00f8y for \u00e5 prestere p\u00e5 sitt beste. Det presenteres en metode som tilbyr et godt grunnlag for \u00e5 uttrykke seg musikalsk, i tillegg til \u00e5 skape en f\u00f8lelse av ro, tilstedev\u00e6relse og \u00e5 bygge mental styrke.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.875644","type":"posted-content","created":{"date-parts":[[2020,5,14]],"date-time":"2020-05-14T06:11:46Z","timestamp":1589436706000},"source":"Crossref","is-referenced-by-count":0,"title":["Hvordan bruke pusten som verkt\u00f8y for \u00e5 prestere p\u00e5 sitt beste"],"prefix":"10.22501","author":[{"family":"Mathias Johan Matland","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:33Z","timestamp":1784282433000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/875644\/875645"}},"issued":{"date-parts":[[2020,5,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.875644","published":{"date-parts":[[2020,5,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:36Z","timestamp":1784286276547,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2016,4,28]],"date-time":"2016-04-28T00:00:00Z","timestamp":1461801600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,4,28]]},"abstract":"The recent enthusiasm for gestures of hospitality in contemporary art promises relief from the individualising forces of neoliberal capitalism and the professionalised hierarchies of the art world. Yet, Jacques Derrida describes the gesture of hospitality as paradoxically asserting a kind of sovereignty that underwrites the 'right to host', returning hospitality to the conditionality of the authorising institution. In settler-colonial territories, these institutionally underwritten gestures always sit uneasily atop indigenous sovereignties that have not been ceded, requiring the positive gestures of hospitality to remain open to their structuring fissures. This paper considers figurations of hospitality and responsibility in works by Derrida, Gayatri Chakravorty Spivak, and Raqs Media Collective in reading the art collective Local Time\u2019s research-driven practice that seeks to reconcile indigenous self-determination and settler gestures of hospitality.<\/jats:p>\n keywords: postcolonialism, hospitality, curation, responsibility, camping, Derrida, Spivak, Raqs Media Collective, Local Time<\/jats:p>","DOI":"10.22501\/jar.228399","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T15:36:08Z","timestamp":1492443368000},"source":"Crossref","is-referenced-by-count":0,"title":["Colonial hospitality: rethinking curatorial and artistic responsibility"],"prefix":"10.22501","author":[{"family":"Danny Butt","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Local Time","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:13:26Z","timestamp":1784283206000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/228399\/264279"}},"issued":{"date-parts":[[2016,4,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jar.228399","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2016,4,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:23Z","timestamp":1784286323783,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,8,14]],"date-time":"2023-08-14T00:00:00Z","timestamp":1691971200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,8,14]]},"abstract":"The Master research \u201cEmbodied Bits\u201d concerns how trans-human, post-digital and post-internet ideas relate to my Queer experience. It is, in a nutshell, an ongoing research on how the technological world has spilled over into the biological world and how Queer folks are front and centre when it comes to taking advantage of technological developments in order to realise their identities.The research question is \u201cHow do we perform ourselves in the digital realm?\u201d. Though it started as a research on the practicalities and aesthetics of internet\/networked-based performances it quickly opened a Pandora\u2019s Box of social inquiry and analysis. Performing ourselves means performing ethnicity, gender, sexuality, cultural identity... There is an inevitability in drawing a direct connection between these topics and how do we, as singular and, paradoxically, plural human beings within ourselves engage with modern day technology. Through technology we are able to build ourselves, to draft new identities, to build again if they no longer suit our needs.As an artistic research, \u201cEmbodied Bits\u201d looks into how digital media has influenced human experience and focuses on the experiences of non-normative bodies and identities, in which I include my own. These topics are interlaced with my own compositional and performative work, always informed and inspired by the previously mentioned ideas and historical context.<\/jats:p>\n keywords: queer, post-digital, electronic music, identity, online, Internet<\/jats:p>","DOI":"10.22501\/koncon.1920291","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:27Z","timestamp":1725906987000},"source":"Crossref","is-referenced-by-count":0,"title":["Embodied Bits"],"prefix":"10.22501","author":[{"family":"Pedro Latas","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:29:36Z","timestamp":1784284176000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1920291\/1920292"}},"issued":{"date-parts":[[2023,8,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1920291","published":{"date-parts":[[2023,8,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:58Z","timestamp":1784290138944,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2024,11,5]],"date-time":"2024-11-05T00:00:00Z","timestamp":1730764800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2024,11,5]]},"abstract":"Ars Memoriae, The Art to Remember analyzes the role of art within the larger history and evolution of external memory devices. It looks at material traces of remembering and the invention of an ever-changing body of language expressions, like signs and symbols, to enhance communication capabilities. I followed the process of externalizing emotions, knowledge, and information, starting in the Palaeolithic Stone Age about 3 million years ago, until, in a speculative future, it will be internalized again using artificial wetware, neuro-computers, and DNA coding. > Click on the image to download the PDF.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/kmd-ar.2340046","type":"journal-article","created":{"date-parts":[[2024,11,5]],"date-time":"2024-11-05T02:40:46Z","timestamp":1730774446000},"source":"Crossref","is-referenced-by-count":0,"title":["Ars Memoriae"],"prefix":"10.22501","author":[{"family":"Maarten Vanden Eynde","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:56:43Z","timestamp":1784289403000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2340046\/2340047"}},"issued":{"date-parts":[[2024,11,5]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.2340046","published":{"date-parts":[[2024,11,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024223,"version":"3.55.0"},"posted":{"date-parts":[[2020,7,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,7,2]],"date-time":"2020-07-02T00:00:00Z","timestamp":1593648000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Pigment print collection & exhibition and publication, on the occasion of the Symposium The Art of Being University \/ Yliopistona Olemisen Taide \/ Konsten med Universitet, in connection to the Centenary of the \u00c5bo Akademi University, \u00c5bo\/TurkuThe Symposium and the exhibition focus on the history and status of the university as an academic learning & research center, while among other questions dealing with the future of the university institution, topics of knowledge and meaning production in joint ventures between art and science are discussed.<\/jats:p>\n keywords: artistic research, graphic art, pigment prints, art and science exchange, Foundation for \u00c5bo Akademi University, KONE foundation, Svenska kulturfonden, William Thurings stiftelse, Visual Art, The Idea of the University, The future of the university<\/jats:p>","DOI":"10.22501\/rc.942650","type":"posted-content","created":{"date-parts":[[2020,6,29]],"date-time":"2020-06-29T12:42:47Z","timestamp":1593434567000},"source":"Crossref","is-referenced-by-count":0,"title":["The Art of Being University\/Yliopistona Olemisen Taide\/Konsten med Universitet"],"prefix":"10.22501","author":[{"family":"Jan Kenneth Weckman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:32Z","timestamp":1784282432000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/942650\/942651"}},"issued":{"date-parts":[[2020,7,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.942650","published":{"date-parts":[[2020,7,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:29Z","timestamp":1784365889082,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2023,6,1]],"date-time":"2023-06-01T00:00:00Z","timestamp":1685577600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2023,6,1]]},"abstract":"In the 21st century an increasing number of composers and performers include elements in their work that activate the musicians\u2019 voice and body in ways not related to playing an instrument. The musician\u2019s moving, dancing, touching, speaking, singing, shouting, grimacing, sounding body opens an novel and still expanding palette of expression \u2013 but its use also requires new skills that are currently not an explicit part of higher musical education or standard musical performance practice. Just Do It! is an artistic research project that seeks to explore the possibilities of bodily performance in an expanded field of music and to detect, define and describe some of the skills and knowledge needed to realize them. The project\u2019s practice-based methodology is rooted in the creation of five new solo pieces for accordion and body and a concerto for ensemble and accordionist written by James Black, Marcela Lucatelli, Philip Venables\/Ted Hufmann, Jennifer Walshe, Louise Alenius and Andreas Borregaard.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.1926394","type":"journal-article","created":{"date-parts":[[2023,6,1]],"date-time":"2023-06-01T05:36:23Z","timestamp":1685597783000},"source":"Crossref","is-referenced-by-count":0,"title":["Just Do It! Exploring the musician's (use of) bodily performance"],"prefix":"10.22501","author":[{"family":"Andreas Borregaard","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:01:53Z","timestamp":1784365313000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1926394\/1926412"}},"issued":{"date-parts":[[2023,6,1]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1926394","published":{"date-parts":[[2023,6,1]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:55Z","timestamp":1784290015177,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","license":[{"start":{"date-parts":[[2018,5,8]],"date-time":"2018-05-08T00:00:00Z","timestamp":1525737600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,5,8]]},"abstract":"This paper explores the materiality of sound by focusing on the interaction between the walker and urban space established by the most \u201cbasic\u201d form of soundmaking on the move \u2013 the sound of our footsteps. It considers the presence of footprints and empreintes in the contemporary arts and surveys a series of projects by artists and composers \u2013 Peter Ablinger, Lawrence Abu Hamdan, katrinem, Dennis Oppenheim, and Jessica Thompson \u2013 highlighting the interplay between body and site established through the footsteps. By drawing on an interdisciplinary body of literature on city walking and on sound studies, I consider the step as the fundamental bodily contact with the environment while walking as well as a sound signal that generates a sense of presence, activates the surroundings, and locates us in space. Therefore, I interpret the footstep as a primary auditory event, allowing us to \u201cread and rewrite\u201d (Augoyard 2007) urban soundscapes, to explore and perceive \u2013 but also to reshape and participate in \u2013 acoustic spaces, establishing a material, embodied, situated, and mutual relationship with our context.<\/jats:p>\n keywords: Journal of sonic studies, sound, soundwalk, urban space, Footsteps, Sonic Studies, sound studies<\/jats:p>","DOI":"10.22501\/jss.456238","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:07Z","timestamp":1733131627000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cStep by Step\u201d Reading and Re-writing Urban Space Through the Footstep"],"prefix":"10.22501","author":[{"family":"Elena Biserna","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:45:31Z","timestamp":1784288731000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/456238\/456239"}},"issued":{"date-parts":[[2018,5,8]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/jss.456238","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,5,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:48Z","timestamp":1784282928776,"version":"3.55.0"},"posted":{"date-parts":[[2026,4,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,15]],"date-time":"2026-04-15T00:00:00Z","timestamp":1776211200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Devotion Without Doctrine advances a secular philosophy of artistic fidelity in which devotion is redefined not as belief in transcendence, but as sustained attention, repetition, and ethical presence. Written from the perspective of post-interpretive aesthetics, the essay argues that the deepest forms of artistic seriousness emerge not through ideology, inspiration, or conceptual certainty, but through disciplined return: the repeated act of showing up to process without guarantee of revelation or reward.Drawing on figures such as Agnes Martin, Simone Weil, Anish Kapoor, On Kawara, Roman Opalka, Vija Celmins, Mark Rothko, and James Turrell, the essay develops a cross-disciplinary account of devotion as a mode of perceptual endurance. Through painting, sculpture, writing, and criticism, devotion is framed as a form of secular prayer enacted through craft: sanding, revising, waiting, repeating, and attending to form without the need for doctrinal closure.The article challenges contemporary cultural conditions defined by acceleration, novelty, productivity, and interpretive overreach. Against these pressures, it proposes patience as an aesthetic and ethical counterforce. Repetition is treated not as stagnation, but as a method of perceptual deepening; discipline is recast as tenderness; and artistic practice is understood as a custodial rather than authoritarian relation to material, time, and uncertainty.Extending beyond the studio, the essay also reframes spectatorship as an active discipline of presence. To look attentively\u2014without rushing toward explanation\u2014is presented as a parallel form of devotion, one that aligns with post-interpretive criticism\u2019s broader call for ethical encounter over explanatory mastery. In this framework, criticism itself must become proportionate to the silence and integrity of the work, privileging care, restraint, and descriptive fidelity over interpretive possession.Positioned at the intersection of aesthetics, philosophy, and critical practice, Devotion Without Doctrine contributes to contemporary debates on attention, slowness, artistic labor, and the ethics of encounter. It proposes devotion as a non-theological structure of meaning: a sustained commitment to precision, humility, and return in a distracted age.Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Phenomenological Phase Alignment Score (PPAS), Epoch\u00e9 Fidelity Index (EFI), Residue Engagement Restraint Ratio (RERR), Quasi-Subject Agency Recognition Index (QSARI), Dialectical Circulation Index (DCI), Moral proximity, Restraint in front of art, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Phenomenology, Aesthetic Phenomenology, Phenomenology of Aesthetic, post-hermeneutics phenomenology, Interpretation and Meaning, Ethics in Art Criticism, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Independent Philosopher of Art, Post-Aesthetic Critic, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, Art as Truth, The Canon of Witnesses, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Art and spirituality, Slow looking philosophy, Contemporary sacred aesthetics, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4353642","type":"posted-content","created":{"date-parts":[[2026,4,15]],"date-time":"2026-04-15T18:04:33Z","timestamp":1776276273000},"source":"Crossref","is-referenced-by-count":0,"title":["Devotion Without Doctrine"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:46Z","timestamp":1784282206000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4353642\/4353641"}},"issued":{"date-parts":[[2026,4,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4353642","published":{"date-parts":[[2026,4,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:30Z","timestamp":1784282970517,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,4]],"date-time":"2026-03-04T00:00:00Z","timestamp":1772582400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"EXECUTIVE BRIEFING From the Archive to Stage PresentationThe thematic catalogue as a methodological approach to musicological research and interpretative practice, with application to the literate Hellenic repertoire for the oboe [\u03bf\u03be\u03cd\u03b1\u03c5\u03bb\u03bf\u03c2].This executive briefing, based on the academic announcement and lecture-performance that took place at the University of Macedonia, [Thessaloniki - November 21, 2025], redefines the thematic catalogue as a sophisticated methodological tool and analytical instrument. By transitioning from traditional documentation to an active form of curation, the study establishes a systematic bridge between historical archives and live performance practice within the literate Hellenic repertoire for the oboe (\u03bf\u03be\u03cd\u03b1\u03c5\u03bb\u03bf\u03c2). Utilising a dataset of 627 catalogued items (1830\u20132023), the work employs an interdisciplinary framework\u2014incorporating Ethnomusicology, Psychoacoustics, Digital Humanities and Cultural Anthropology\u2014to map the \"working mind\" of the composer through various research strata, from primary autograph sources to theoretical interpretative texts.Beyond musicological preservation, the paper highlights the dataset\u2019s role as a \"living\" methodological engine for modern technological integration. The catalogue serves as the \"ground truth\" (ontology) required for training Large Language Models (AI) and Music Information Retrieval systems, ensuring the digital discoverability of rare Greek musical works. Through data mining and the identification of sociological events with impact the research transforms the archive into a dynamic resource for institutional assessment and global visibility. The project provides a comprehensive legacy for further investigation and cultural preservation of the Hellenic musical heritage.<\/jats:p>\n keywords: Thematic Catalogue, Musicological Research Methodology, Interpretative Practice, Hellenic Oboe Repertoire, \u03bf\u03be\u03cd\u03b1\u03c5\u03bb\u03bf\u03c2, Modern Greek Music (1830\u20132023), Literate Musical Works, Ethnomusicology, Psychoacoustics, Cultural Anthropology, Extended Oboe Techniques, Artificial Intelligence Ontology, Ground Truth Datasets, Music Information Retrieval (MIR), Digital Discoverability, Data Mining, Substrata, Parastrata, Epistrata, University of Macedonia, Tsogias-Razakov, Christos, Chris, \u03a4\u03c3\u03cc\u03b3\u03b9\u03b1\u03c2-\u03a1\u03b1\u03b6\u03ac\u03ba\u03bf\u03b2, \u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2, Hautbois, \u038c\u03bc\u03c0\u03bf\u03b5, Hobo, hautbois, chrisraz, Chrisraz, Thessaloniki, Performance, musicology, music, classical music, classical, digital humanities, Humanities, Social science<\/jats:p>","DOI":"10.22501\/rc.4194323","type":"posted-content","created":{"date-parts":[[2026,3,4]],"date-time":"2026-03-04T12:38:32Z","timestamp":1772627912000},"source":"Crossref","is-referenced-by-count":0,"title":["From the Archive to Stage Presentation"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-8309-5276","authenticated-orcid":false,"family":"Christos Tsogias-Razakov","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:04Z","timestamp":1784282224000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4194323\/4194322"}},"issued":{"date-parts":[[2026,3,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4194323","published":{"date-parts":[[2026,3,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:09Z","timestamp":1784286309031,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,6,18]],"date-time":"2025-06-18T00:00:00Z","timestamp":1750204800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,6,18]]},"abstract":"Music is bound to space; music happens in a space. There cannot be music without space, still, the vast majority of music throughout history has been mainly focused on \"what happens when\" rather than \"what happens when and where.\u201dToday, with the advent of Virtual Reality, Dolby Atmos, binaural recording, and surround systems musicians and listeners are developing a more refined sensitivity and creativity toward sound localisation and spatialisation. Space is gradually attaining greater significance in the way we perceive and conceptualise music. Moreover, the introduction of headphones into the audio market substantially affected the way we perceive music today.The present work describes the creative process and the results of two electronic music pieces for speakers and headphones which were composed for exploring the perceptual thresholds in which musical materials are perceived as connected or disconnected from each other. I hope this work ignites curiosity in the reader, inspires creation, and motivates reflection on the meaning of space, connection, and isolation.DISCLAIMER: The webpage takes some seconds to fully load.<\/jats:p>\n keywords: sound, horizon, blare, wolf, spatial, music, Spatial Audio, spatialization, headphones, speakers, 8D audio, VR, virtual reality, space, multimedia, composition, acousmatics, acousmatic music<\/jats:p>","DOI":"10.22501\/koncon.3174997","type":"journal-article","created":{"date-parts":[[2025,6,18]],"date-time":"2025-06-18T07:21:34Z","timestamp":1750231294000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sound Horizon: multilayered composition for headphones and loudspeakers"],"prefix":"10.22501","author":[{"family":"Alam Hern\u00e1ndez \/ Blarewolf","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Yannis Kyriakides","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:24:01Z","timestamp":1784283841000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3174997\/3174998"}},"issued":{"date-parts":[[2025,6,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3174997","published":{"date-parts":[[2025,6,18]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:46Z","timestamp":1784369086753,"version":"3.55.0"},"posted":{"date-parts":[[2023,3,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,3,6]],"date-time":"2023-03-06T00:00:00Z","timestamp":1678060800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The idea of the exposition was triggered by an email exchange between artists Mike Croft and Derek Pigrum on 30th November 2022. The two artists have for more than a year been maintaining an email correspondence on matters of mutual interest concerning their visual practice and theoretical explorations. On this occasion Croft had read something by the psychoanalyst Jacques Lacan on the automaton, the latter of which he knew to be of great interest to Pigrum, the email to Pigrum of which opens the exposition. The resulting email response from Pigrum has as its point of focus a visit he had made the day before to the KHM (Kunsthistorisches Museum) in his home city, Vienna, where what he terms \u2018the automation of contingency that generates repetition\u2019 was as usual in operation. The references Pigrum made in the email to his own artistic work and existing works of art and cultural and historical artefacts suggested his text might be divided and illustrated, the resulting format of which is the present exposition. Several additional responses to the email exchange\u2019s content ensued, termed interventions in the exposition, leading to a closing email exchange dated 11th December 2022. A third email exchange between 13th and 14th December has resulted in a Postscript section. Croft\u2019s contribution pivots, he suggests, around Lacan\u2019s coined term ab-sense, very approximately interpreted to mean absence of meaning between patterns or continuum \u2013 in the linguistic context signifiers \u2013that are nonetheless not reducible to mere nonsense. The running through, as it were, of contingency in Pigrum\u2019s practice \u2013 which he points out is not his only interest and prompts a need to show the broader picture, as it were, a pivotal influence for him being Aby Warburg\u2019s Atlas Mnemosyne \u2013 may be considered informed by sense more so than meaning. The exposition is an example of how an ongoing correspondence can be an important aspect of each artist\u2019s practice.<\/jats:p>\n keywords: drawing, correspondance, automaton, contingency, repetition, charged image, sorting<\/jats:p>","DOI":"10.22501\/i2ads.1857065","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:09:19Z","timestamp":1727179759000},"source":"Crossref","is-referenced-by-count":0,"title":["Intimate to and transcendent of transient time qua the seen and drawn in the present: an email to a painter\/academic and his reaction"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"derek pigrum","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:37Z","timestamp":1784366437000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1857065\/1857066"}},"issued":{"date-parts":[[2023,3,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.1857065","published":{"date-parts":[[2023,3,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:22Z","timestamp":1784365882200,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,10,16]],"date-time":"2024-10-16T00:00:00Z","timestamp":1729036800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2024,10,16]]},"abstract":"Towards a (per)sonal topography of grand piano and electronicsHow can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics?The instrument I am developing, a grand piano with electronic augmentations, is adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetics and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes\u2026 These are the development loops I am talking about.I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument\u00b4s mechanisms.Credits:First supervisor: Henrik HellsteniusSecond Supervisors: \u00d8yvind Brandtsegg and Eivind BueneCover photo by J\u00f8rn Stenersen, www.anamorphiclofi.comAll other photo, audio and video recording\/editing by Morten Qvenild, unless stated.<\/jats:p>\n keywords: Hyperinstrument, piano, interagency, music, technology, Technology Innovation, music technology, jazz, pop music, personal piano, distributed cognition, improvisation, composition, performance studies, performance, Interaction, interconnectivity, memories, sonic, augmented, palette, sound art, sound, sound engineering, microphones<\/jats:p>","DOI":"10.22501\/nmh-ar.291286","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T07:22:08Z","timestamp":1618298528000},"source":"Crossref","is-referenced-by-count":0,"title":["Morten Qvenild \u2013 The HyPer(sonal) Piano Project"],"prefix":"10.22501","author":[{"family":"Morten Qvenild","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:00:19Z","timestamp":1784365219000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/291286\/291287"}},"issued":{"date-parts":[[2024,10,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.291286","published":{"date-parts":[[2024,10,16]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:27Z","timestamp":1784365887982,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2024,3,13]],"date-time":"2024-03-13T00:00:00Z","timestamp":1710288000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2024,3,13]]},"abstract":"In Performing Precarity we have been working with several composers staging projects that enhance unstable situations on stage. For Berg & H\u00f8eg\u2019s Photostudio I composed the music myself. In this exposition I reflect upon experiences from the process of creating and performing the music in improvisational dialogue with my collaborators in Theater Corpus. What ideas and work methods are available to me in the encounter between puppets, actors, myself and my instrument? How can themes and experiences from the research project Performing Precarity inform the work? My reflections deal specifically with the music, despite the fact that the music clearly cannot to be separated from the whole setting. Many thanks for permission use our material in this exposition; Tormod, Aina, Tuva, Ragni and Daniel.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.2251090","type":"journal-article","created":{"date-parts":[[2024,3,13]],"date-time":"2024-03-13T11:02:38Z","timestamp":1710327758000},"source":"Crossref","is-referenced-by-count":0,"title":["Puppets at the piano (11.08.2023) by Ellen Ugelvik"],"prefix":"10.22501","author":[{"family":"Ellen Kristine Ugelvik","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Io Sivertsen","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:01:34Z","timestamp":1784365294000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2251090\/2251091"}},"issued":{"date-parts":[[2024,3,13]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2251090","published":{"date-parts":[[2024,3,13]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:10Z","timestamp":1784365870363,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,6,25]],"date-time":"2024-06-25T00:00:00Z","timestamp":1719273600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2024,6,25]]},"abstract":"An artistic research project exploring the art of live remixing through the lens of the music philosophical framework \"The Remixician's Triaxis\". The project resulted in live studio recordings with multi-camera video of my duo with Alessandra Bossa - Before Without.<\/jats:p>\n keywords: Live-electronics, electroacoustic music, remix, Music philosophy<\/jats:p>","DOI":"10.22501\/uia.2407748","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:08:05Z","timestamp":1727179685000},"source":"Crossref","is-referenced-by-count":0,"title":["The Remixician and the Triaxis"],"prefix":"10.22501","author":[{"family":"Kristian Isachsen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:58:29Z","timestamp":1784365109000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2407748\/2408344"}},"issued":{"date-parts":[[2024,6,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2407748","published":{"date-parts":[[2024,6,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950950,"version":"3.55.0"},"posted":{"date-parts":[[2025,2,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,24]],"date-time":"2025-02-24T00:00:00Z","timestamp":1740355200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In these days when it is not understood that cinema is an entertaining, commercial monotheism as well as an art in the making, and originality is starting to disappear, whether in domestic or foreign cinema, we either wait for festivals or DVDs to see a film that comes with a \u2018genuinely original idea\u2019. The situation is even more worrying when it comes to a genre film. These thoughts, which I refer to the repetitive zombie and horror cinema, are inadequate in the film of deadly words, Pontypool (2009), where Canadian director Bruce McDonald and Tony Burgess, who adapted the script from his own novel, dismantle the structure of the Englishness that has permeated the global culture, can be considered as one of the original genre films, like those of George A. Romero, that strives to create thought and meaning rather than entertainment.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3440506","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:08:14Z","timestamp":1740722894000},"source":"Crossref","is-referenced-by-count":0,"title":["The Film Pontypool (2009) and the Deconstruction of the Global Language"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:21Z","timestamp":1784282301000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3440506\/3440505"}},"issued":{"date-parts":[[2025,2,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3440506","published":{"date-parts":[[2025,2,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974818,"version":"3.55.0"},"posted":{"date-parts":[[2024,1,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,1,3]],"date-time":"2024-01-03T00:00:00Z","timestamp":1704240000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201dCan the necklaces make themselves?\u201d - A study on inclusive art education through stop motionMin studie handlar om hur stop motion och dess egenskaper kan m\u00f6jligg\u00f6ra en inkluderande bildundervisning f\u00f6r barn med neuropsykiatriska funktionsneds\u00e4ttningar (npf). Det \u00e4r en stor elevgrupp som ofta har sv\u00e5righeter i bildundervisningen och \u00e4ven i skolan i stort.Den definition av inkluderingsbegreppet jag utg\u00e5r ifr\u00e5n i min studie \u00e4r den gemenskaphetsorienterade, vilket inneb\u00e4r att s\u00e4rl\u00f6sningar inte g\u00f6rs f\u00f6r enskilda elever utan alla elever ska vara socialt och pedagogiskt delaktiga. Olikheter ska ses som en tillg\u00e5ng och problem ska inte l\u00e4ggas p\u00e5 en enskild individ utan p\u00e5 undervisningen och skolan som helhet. Jag har unders\u00f6kt detta genom arbete med sju elever i en mellanstadieklass p\u00e5 en resursskola f\u00f6r barn med npf och har utformat min undervisning med hj\u00e4lp av det pedagogiska f\u00f6rh\u00e5llningss\u00e4ttet ett differentierat l\u00e4rande och anv\u00e4nder mig av design f\u00f6r l\u00e4rande som teori och tolkningsram.<\/jats:p>\n keywords: Inkludering, stop motion, npf, neuropsykiatriska funktionsneds\u00e4ttningar, bildundervisning, animation, Examensarbeten - IBIS<\/jats:p>","DOI":"10.22501\/rc.1529625","type":"posted-content","created":{"date-parts":[[2024,1,3]],"date-time":"2024-01-03T09:28:15Z","timestamp":1704274095000},"source":"Crossref","is-referenced-by-count":0,"title":["\"KAN HALSBANDEN G\u00d6RA SIG AV SIG SJ\u00c4LV?\" - En studie om inkluderande bildundervisning genom stop motion"],"prefix":"10.22501","author":[{"family":"Ellen Kugelberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:58Z","timestamp":1784282338000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1529625\/1558347"}},"issued":{"date-parts":[[2024,1,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1529625","published":{"date-parts":[[2024,1,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:03Z","timestamp":1784369043031,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T00:00:00Z","timestamp":1602633600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,14]]},"abstract":"In this exposition I wish to point to a type of artistic research evolving around development of technology as artistic material, as an extension to the condition of possibility for an artistic expression. The well known distinction between research *for* and research *in* the arts, in my opinion becomes blurred in these type of works. Those tools developed to facilitate the artistic exploration constitute the base material for the artist, and the development of these tools are an intrinsic part of the artistic process. The examples are shown as recorded sound and video, and the technological material is thus still hidden from the reader. They can not see the material itself, just the traces it leaves. I would argue that the artistic process here starts with the investigation of potential, guiding the development of tools, and the tools will have certain affordances correlating with some aspects of the original artistic spark (desire). The artistic process of exploring said affordances will also in many cases lead to unexpected outcomes, in the interaction between human and machine, artist and tool<\/jats:p>\n keywords: music performance, computer improvisation, algorithmic composition, feedback, generative art, convolution, granular synthesis<\/jats:p>","DOI":"10.22501\/vis.736892","type":"journal-article","created":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T07:02:17Z","timestamp":1602658937000},"source":"Crossref","is-referenced-by-count":0,"title":["Verkt\u00f8y som materiale"],"prefix":"10.22501","author":[{"family":"\u00d8yvind Brandtsegg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:14:42Z","timestamp":1784366082000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/736892\/736893"}},"issued":{"date-parts":[[2020,10,14]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/vis.736892","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2020,10,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:29Z","timestamp":1784286269308,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2016,4,28]],"date-time":"2016-04-28T00:00:00Z","timestamp":1461801600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2016,4,28]]},"abstract":"'Place setting: notes on Red76's Occupy Yr. Home' is a collaborative piece of writing between Heath Schultz and Sam Gould, primary organiser of the artist group Red76. The piece doubles as a critical review of the Red76 project 'Occupy Yr. Home' \u2013 a facilitated conversation in a participant's home around the themes of occupation and the domestic sphere. The text explores problems that plague much participatory art and social practice. Unique to this piece of writing is a parallel conversation (played out in the footnotes) in which Sam responds to Heath's review, offering anecdotes, clarifications, and thoughts. The dialogue within the footnotes suggests divergent viewpoints from the 'authoritative text'. In this way, the experimental form of the piece struggles with the important question of how different experiences of the same event can texture and complicate discourses around participatory art.<\/jats:p>\n keywords: red76, socially engaged art, Occupy, tables, food<\/jats:p>","DOI":"10.22501\/jar.154398","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T15:41:31Z","timestamp":1492443691000},"source":"Crossref","is-referenced-by-count":0,"title":["Notes on Red76's Occupy Yr. Home"],"prefix":"10.22501","author":[{"family":"Heath Schultz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Samuel Gould","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:13:42Z","timestamp":1784283222000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/154398\/154399"}},"issued":{"date-parts":[[2016,4,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jar.154398","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2016,4,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:43Z","timestamp":1784282983663,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,28]],"date-time":"2024-06-28T00:00:00Z","timestamp":1719532800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abstract This artistic research project focuses on narrative accounts of Norwegians who self-identify with a \u2018multicultural and\/or immigration background(s)\u2019, to explore how their (hi)stories can be woven into the tapestry of the contemporary Norwegian public memory and story. I set out to interview and collect their narrative accounts, which must also be understood as oral (topical) histories, focusing on (hi)stories of their lived experiences, with a special interest in an event that happened in a public space and has been experienced as a meaningful or life-changing moment. Through a collaborative process, the oral (hi)stories were transformed and used to produce interactive monuments installed on the sites where the narrated events took place. One of the key artistic challenges in the project was to grapple with the question of how not only the collaborators but also the public can be empowered to actively shape and engage with artistic works, becoming co-collaborators themselves. This artistic inquiry led to the development of monu(mo)ments, an artistic concept and initiative that is dedicated to turning stories of Norway\u2019s diversity into interactive, performative works of public art. The monu(mo)ments are not just symbols of collective memory but embody that very concept in how they themselves function. Through an interactive\/participatory design, the public is invited to contribute their own narratives, perspectives, and experiences, shaping the monu(mo)ment's meaning and relevance. They invite the public to become co-creators of the narratives embedded within their communal spaces, fostering a sense of ownership and agency, and blurring the boundaries between artist(s) and public, the past and the present. The project strives to illuminate the untold oral (hi)stories of these narrators by allowing them to take over public spaces and infuse them with gripping personal narratives to shift how we read those places and (re)negotiate their past\/meaning. This is to create an \u2018alternative history\u2019, dedicated to writing and inscribing these voices into public spaces and our broader collective imagination.Other artistic results include a live-action role-playing game (LARP). Furthermore, the larp was modified to serve as a resource for educators, enabling them to address interconnected themes within their classrooms through immersive gameplay. It has been performed in schools, festivals, and conferences in Norway, Austria, and Denmark. Overall, by creating artistic works that (re)imagining public memory as a dynamic and interactive process, this artistic research project foregrounds and contributes to the ongoing efforts to capture and reflect Norway\u2019s multicultural reality and identity.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2851282","type":"posted-content","created":{"date-parts":[[2024,6,28]],"date-time":"2024-06-28T11:36:31Z","timestamp":1719574591000},"source":"Crossref","is-referenced-by-count":0,"title":["Alternative Histori[es]: A Place Where Something Happened"],"prefix":"10.22501","author":[{"family":"Eliot Moleba","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:43Z","timestamp":1784282323000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2851282\/2911576"}},"issued":{"date-parts":[[2024,6,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2851282","published":{"date-parts":[[2024,6,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936931,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This concise study guide introduces the foundational framework of Post-Interpretive Criticism (PIC)\u2014a new aesthetic philosophy that centers presence, moral proximity, and restraint in the practice of art criticism. Developed by Dorian Vale, the guide breaks down PIC into five core principles:Restraint over InterpretationWitness over CommentaryMoral Proximity over ObjectivityViewer as EvidenceRejection of PerformanceEach principle is accompanied by a brief case study, reflection exercise, and ethical commentary, making this guide suitable for students, educators, curators, and critics seeking to apply PIC in the field. Instead of decoding the artwork, this framework encourages a posture of reverent presence, allowing the artwork to retain its autonomy and moral gravity.This resource is designed to be taught, discussed, and practiced. It supports classrooms, curatorial programs, writing workshops, and museum education\u2014inviting a new generation of viewers to approach art with humility, silence, and philosophical depth.Vale, Dorian. Five Principles of Post-Interpretive Criticism: A Study Guide. Museum of One, 2025. DOI: 10.5281\/zenodo.17077734This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)Post-Interpretive Criticism, study guide, art education, critical theory, Dorian Vale, aesthetic philosophy, viewer as evidence, slow looking, ethical criticism, trauma in art, art pedagogy, witness-based art criticism, art classroom resource, art and ethics, moral proximity, presence over interpretation, contemporary criticism, museum education, poetic criticism, art curriculum<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Visual Culture Studies, Epistemology of Art, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Language as Custody, Interpretation vs. Witnessing, Museum of One Manifesto, Erasure as Afterlife, Post-Interpretive Lexicon, Interpretive Restraint, Witness over interpretation, Radical art restraint, Quiet philosophy of art, Slow looking philosophy, Criticism beyond interpretation, Ethical art theory, New art criticism movement, Alternative art criticism, Fine Arts, fine art, art criticism, art critics, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/www.semanticscholar.org\/author\/Dorian-Vale\/2380743266, https:\/\/zenodo.org\/communities\/post-interpretive-criticism<\/jats:p>","DOI":"10.22501\/rc.3921610","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T09:56:19Z","timestamp":1759917379000},"source":"Crossref","is-referenced-by-count":0,"title":["Five Principles of Post-Interpretive Criticism: A Study Guide"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:47Z","timestamp":1784282267000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921610\/3921609"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921610","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:12Z","timestamp":1784286492427,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,6,5]],"date-time":"2020-06-05T00:00:00Z","timestamp":1591315200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,5]]},"abstract":"For this project, Lien Baelde and I created a choreography based on \"La Soiree dans Grenade\" by C. Debussy. In order to prepare the choreography, I made an approach to the connection between music and dance and I analyzed the harmony and sctructure of the piece. The objetive of the research is to see how my playing changes while working \u201cLa Soire\u00e9 dans Grenade\u201d with a dancer. To answer this question, I compare a recording before and after working with the dancer. This research concludes that mixing arts in the learning process has benefits in my playing, adding flexibility and tempo control.<\/jats:p>\n keywords: piano, dance, music, choregraphy, Claude Debussy, Beyond Discipline<\/jats:p>","DOI":"10.22501\/koncon.544625","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:41:14Z","timestamp":1725907274000},"source":"Crossref","is-referenced-by-count":1,"title":["DEBUSSY AND MOVEMENT - IMANOL CASAN"],"prefix":"10.22501","author":[{"family":"Imanol Casan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:42:06Z","timestamp":1784284926000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/544625\/615715"}},"issued":{"date-parts":[[2020,6,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.544625","published":{"date-parts":[[2020,6,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:43Z","timestamp":1784286523115,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Hugo Rodr\u00edguez ArteagaMain Subject: Baroque BassoonResearch Supervisor: Johannes Boer Title of Research: Investigating smaller bassoons from the XVIII and XIX centuries, with practical performance on a Baroque fagottino Research Question: Is there a (lost) tradition using these instruments in the XVIII and XIX centuries? What are the musical and technical advantages and disadvantages of performing a piece with fagottino?Summary of Results:The idea of this study was to collect information about smaller-sized bassoons found in the XVIII and XIX centuries. Berlioz talks about the \"quint bassoon\", and other \"fagottino\" in his treatise about orchestration, and smaller bassoons called \"tenor\", \"octave\", and \"quart\" are described in James Kopp's book, The Bassoon. Today the modern \"fagottino\" is used to teach children, as the modern bassoon is too big and too heavy, but historical models have been strangely ignored in early music performance practice. Is there a (lost) tradition using these instruments in the XVIII and XIX centuries? What are the musical and technical advantages and disadvantages of performing a piece with fagottino? This research project is a mixed work: the written part has background information about instruments, titles and performers. A description of practical experimentation approaching one work with fagottino, as well as the observation of a young player\u2019s first confrontation with the instrument is included. Biography: Hugo Rodr\u00edguez Arteaga began studying bassoon in Santa Cruz de Tenerife, Spain, in 1999 with Prof. Maximiano Vera. In 2007 he started studies at the Conservatorio Superior de Canarias with Ana S\u00e1nchez Clemente and finished with honors. He has played in ensembles as Orchestra of the 18th Century, Die K\u00f6lner Akademie, MusicAEterna, Capella Cracoviensis, Lutherse Bach Orchester, Les Vents Atlantiques, Orquesta Sinf\u00f3nica de Galicia, Vox Luminis and more several groups. He has worked together with such conductors as Frans Br\u00fcggen, Teodor Currentzis, James Coonlon, Rinaldo Alessandrini, Alfredo Bernardini, Marcus Creed, Kenneth Montgomery, Alessandro de Marchi, Michael Alexander Willems and Pietro Rizzo. Currently he is studying historical bassoons at the Royal Conservatoire in The Hague with Donna Agrell, as well as orchestral conducting with Kenneth Montgomery, Alex Schillings and Jac van Steen. He is active as a historical and modern bassoonist with different period and symphony orchestras all over Europe.<\/jats:p>\n keywords: bassoon, 18th century, 19th century, baroque, lost tradition, fagottino<\/jats:p>","DOI":"10.22501\/koncon.236269","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:45:08Z","timestamp":1725907508000},"source":"Crossref","is-referenced-by-count":0,"title":["Investigating smaller bassoons from the XVIII and XIX centuries, with practical performance on a Baroque fagottino"],"prefix":"10.22501","author":[{"family":"Hugo Rodriguez Arteaga","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:49:31Z","timestamp":1784285371000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/236269\/343124"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.236269","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:51Z","timestamp":1784286471677,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,7,8]],"date-time":"2021-07-08T00:00:00Z","timestamp":1625702400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,7,8]]},"abstract":"Many musicians think that experiencing and showing vulnerability is a weakness. I see it differently. To share our music with the world, without any assurance of acceptance or appreciation, is to be vulnerable; to be real, to choose courage over comfort, to take off your mask, is vulnerability. The exposure and risk we face, are not optional. In my own musical journey, I discovered that I cannot escape vulnerability on stage. What if embracing our vulnerability is key to convincing, yet authentic performances?This research is not about finding the magic solution for performance anxiety. It is not about avoiding vulnerability, but about embracing it. Embracing vulnerability starts with defining, recognizing and understanding it. That is exactly where this research started: a literature review was done and experts in the field of psychology were interviewed. This led to the design of strategies that can help embracing vulnerability when performing and when preparing a performance. These strategies are used in an intervention over 13 performances that have been documented with audio\/video recordings, a journal and a self-questionnaire. Results show that performance preparation is a crucial element in dealing with vulnerability. Also, embracing vulnerability led to more experiences of \u2018flow\u2019, enhanced focus and increased trust in my abilities to perform music. Besides, I felt more authentic as a performer. These findings, although subjective, provide insights and strategies that could be of great benefit to other musicians.<\/jats:p>\n keywords: Musical Training, Performance & Cognition, performance, vulnerability<\/jats:p>","DOI":"10.22501\/koncon.703190","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:39:40Z","timestamp":1725907180000},"source":"Crossref","is-referenced-by-count":0,"title":["Taking off the mask: embracing vulnerability on stage"],"prefix":"10.22501","author":[{"family":"Marlon Valk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:38:18Z","timestamp":1784284698000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/703190\/703191"}},"issued":{"date-parts":[[2021,7,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.703190","published":{"date-parts":[[2021,7,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:00Z","timestamp":1784290080658,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"08","license":[{"start":{"date-parts":[[2014,12,1]],"date-time":"2014-12-01T00:00:00Z","timestamp":1417392000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,12,1]]},"abstract":"This text offers an introduction to a hyperlink, http:\/\/earthscramble.com\/, a portal to the Scrambles of Earth project, which is dedicated to decoding and disseminating audio transmissions of possible extraterrestrial origin that have been received on Earth in response to the Voyager Golden Record. The Voyager Record, a compendium of recorded Earth sounds affixed in phonograph form to NASA\u2019s Voyager spacecraft, was launched out of Earth orbit in the 1970s and in 2013 left our solar system to travel into interstellar space. It may be that aliens have started listening in \u2014 and more, as the Scrambles of Earth document suggests, it may be that aliens have started to create their own interpretations of the Earth sounds they have received. Whether such Voyager Record echoes are messages meant for Earthly receipt or are simply exploratory experiments in sound that happen to have been intercepted on their way to somewhere else remains to be determined.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.109536","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:58Z","timestamp":1733131618000},"source":"Crossref","is-referenced-by-count":0,"title":["Remixing the Voyager Interstellar Record: Or, As Extraterrestrials Might Listen"],"prefix":"10.22501","author":[{"family":"Stefan Helmreich","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:53:33Z","timestamp":1784289213000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/109536\/109537"}},"issued":{"date-parts":[[2014,12,1]]},"references-count":0,"journal-issue":{"issue":"08"},"URL":"https:\/\/doi.org\/10.22501\/jss.109536","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2014,12,1]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:57Z","timestamp":1784289837917,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2018,3,16]],"date-time":"2018-03-16T00:00:00Z","timestamp":1521158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"This exposition is an attempt to think transgender existence and experiences in relation to voice and the particular practices of western classical singing. A key source of inspiration for this voice and music-bound line of exploration is our collaboration with Finnish singer, voice teacher and trans man Demian Seesj\u00e4rvi. Thus, the propositions presented here are meant to take form in-between Seesj\u00e4rvi\u2019s vocalizations, his spoken and written reflections on his body\/voice and artistic activity, and the research interests and concepts that we bring into these encounters. The exposition explores the interrelations of trans existence and vocal art practices through Seesj\u00e4rvi\u2019s distinctive practice in classical singing. Our accompanying theoretical aim is to participate in recent discussions about how materiality - or better, materialities - matter a great deal in trans ways of being or becoming and the unfolding of trans selves. In particular, we engage with Seesj\u00e4rvi\u2019s activities as a classically trained singer by asking how his artistry and perhaps the music-cultural field of classical singing more generally prompt important insights into the co-formations of body, voice and sex\/gender in trans ways of being. How do material, cultural and discursive aspects interrelate - or, in the terms used in this exposition, intra-act - within these formations? How can new materialist ideas concerning the emergent, instead of passive or predictable, character of matter, and the intra-active occurring of materialities and other phenomena, (e.g. Barad 2003; 2007) advance understandings of materiality, voice and sex\/gender in vocal art practices and trans studies of music?<\/jats:p>\n keywords: Trans studies, classical singing, New Materialism, intra-action, voice studies<\/jats:p>","DOI":"10.22501\/ruu.372940","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:50:03Z","timestamp":1538221803000},"source":"Crossref","is-referenced-by-count":0,"title":["Trans-becomings in Western classical singing: An intra-active approach"],"prefix":"10.22501","author":[{"family":"Milla Kristina Tiainen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:17:17Z","timestamp":1784287037000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/372940\/372941"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.372940","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023035,"version":"3.55.0"},"posted":{"date-parts":[[2021,3,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,3,22]],"date-time":"2021-03-22T00:00:00Z","timestamp":1616371200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This two-part UK\/Canadian produced documentary provides an extensive analysis of horror cinema trends from the 1960s to the present day. It critically evaluates Canadian traditions of the genre through a range of pertinent methodologies in order to explore wider tensions surrounding national identity (part one, 70 minutes), as well as the struggles for representation as advanced by female and indigenous filmmakers (part two, 52 minutes).<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1167974","type":"posted-content","created":{"date-parts":[[2021,3,22]],"date-time":"2021-03-22T09:55:51Z","timestamp":1616406951000},"source":"Crossref","is-referenced-by-count":0,"title":["THE QUIET REVOLUTION: STATE SOCIETY AND THE CANADIAN HORROR FILM"],"prefix":"10.22501","author":[{"family":"Xavier Mendik","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:17Z","timestamp":1784282417000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1167974\/1167975"}},"issued":{"date-parts":[[2021,3,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1167974","published":{"date-parts":[[2021,3,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:24Z","timestamp":1784290104118,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2017,7,4]],"date-time":"2017-07-04T00:00:00Z","timestamp":1499126400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2017,7,4]]},"abstract":"This paper describes a practice-led soundscape studies project in which students created sound interventions to transform the \u201cvoice of the city.\u201d A loud exhaust fan outlet dominated the site, and students were asked to create a soundscape intervention in response to an imaginative-artistic question: the exhaust outlet is the voice of the city, speaking; can this voice be deciphered, transformed, augmented? Students responded with live sound-art, musical and electroacoustic performances played through loudspeakers placed adjacent to the exhaust outlet, and physical changes to the environment with interactive sound-making artifacts. The intervention was informed by the acoustic ecology movement\u2019s maxim that acoustic design and the \u201cretrieval of a significant aural culture\u201d is a \u201ctask for everyone\u201d (Schafer 1977: 206); thus, students were encouraged to listen and creatively respond to the dominant sound. Students were introduced to a mixture of acoustic ecology listening exercises and structural approaches derived from the Research Centre on Sonic Space and the Urban Environment (CRESSON). The project aimed to demonstrate that with the assistance of educational resources, city dwellers, given the opportunity to creatively interact with city sounds, might revitalize their own city-relationship through participatory soundscape design.<\/jats:p>\n keywords: Journal of sonic studies, Sonic Studies, sound, urban space, soundscape, Soundscapes<\/jats:p>","DOI":"10.22501\/jss.369404","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:17Z","timestamp":1733131637000},"source":"Crossref","is-referenced-by-count":1,"title":["Silencing Urban Exhalations: a case study of student-led soundscape design"],"prefix":"10.22501","author":[{"family":"Jordan Lacey","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:47:01Z","timestamp":1784288821000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/369404\/369405"}},"issued":{"date-parts":[[2017,7,4]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jss.369404","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2017,7,4]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:47Z","timestamp":1784290127959,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2023,5,25]],"date-time":"2023-05-25T00:00:00Z","timestamp":1684972800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2023,5,25]]},"abstract":"Topographies of the Obsoleteis an Artistic Research project (KU Prosjekt) initiated by Professors Neil Brownsword and Anne Helen Mydland at Bergen Academy of Art and Design (KHiB) in collaboration with partner universities\/institutions in Denmark, Germany and the UK. Our main collaborative partner is the British Ceramics Biennial, who invited KHiB to work at the original Spode Works factory in Stoke-on-Trent, to develop a site specific artistic response as a core element of their 2013 exhibition program. More than 40 international artists and theoreticians have participated in this multidisciplinary project with a program of seminars, publications and exhibitions. Three residencies have accumulated individual artistic projects from which the overriding project has developed.The project focus centres upon the landscape of post-industry, more particular; that of Stoke-on-Trent, a world renowned ceramic capital that bears in its city evidence of fluctuations in global fortunes. The original Spode factory, situated in the heart of Stoke-on-Trent, was once a keystone of the city's industrial heritage which operated upon its original site for over 230 years. Amongst Spode's contributions to ceramic history include the perfection of under-glaze blue printing and Fine Bone China. The factory's industrial architecture dates from the 1760's to the late 1980's, with spaces associated with all aspects of the design, manufacture, retail and administration in close geographical proximity. In 2008 Spode's Church Street site closed, with most of its production infrastructure and contents left intact.<\/jats:p>\n keywords: KMD_FineArt, KMD, ceramics, post-industrial<\/jats:p>","DOI":"10.22501\/kmd-ar.1998041","type":"journal-article","created":{"date-parts":[[2023,5,25]],"date-time":"2023-05-25T03:08:15Z","timestamp":1684984095000},"source":"Crossref","is-referenced-by-count":0,"title":["Topographies of the obsolete"],"prefix":"10.22501","author":[{"family":"Anne-Helen Mydland","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Neil Joseph Brownsword","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:57:46Z","timestamp":1784289466000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1998041\/1998042"}},"issued":{"date-parts":[[2023,5,25]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1998041","published":{"date-parts":[[2023,5,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:02:53Z","timestamp":1784289773087,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T00:00:00Z","timestamp":1749686400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,6,12]]},"abstract":"The artistic research project Creative (Mis)Understandings: Methodologies of Inspiration is a collaboration between sound makers \/ compoers \/ performers from an indigenous community in Taiwan (Tao on Lanyu\/Orchid island) and from Europe.There is a high urgency to transform traditional songs into new artisttic forms, creating new ways of forwarding important traditional knowledge to the next generations.This collaboration also sheds a different light on the question, what it means to create something \"new\" in the eurpopean context.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.1726400","type":"journal-article","created":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T02:30:16Z","timestamp":1749695416000},"source":"Crossref","is-referenced-by-count":0,"title":["creative (mis)understandings - methodologies of inspiration (for RUUKKU call: Parallel indigeneities, art worlds and frictions)"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-5613-0547","authenticated-orcid":false,"family":"Johannes Kretz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Wei-Ya Lin","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:47Z","timestamp":1784286227000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1726400\/1726401"}},"issued":{"date-parts":[[2025,6,12]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1726400","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2025,6,12]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:20Z","timestamp":1784283020763,"version":"3.55.0"},"posted":{"date-parts":[[2014,6,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2014,6,7]],"date-time":"2014-06-07T00:00:00Z","timestamp":1402099200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Spirituality reigns supreme in art. Known as the driving force of art, spirituality is art's expressive vehicle as well as a special voice. Human history of arts has never been devoid of spiritual content; artists studied the relationship between art and the spirit for decades. However, during the nineteenth century, technological advancements temporarily eclipsed this relation. Thanks to the radical changes in the progress of arts, spirituality in art resurfaced again (Efland 1990). With the material advances falling short of human expectations in understanding the reality of self, 'arts began once again to be proclaimed as important sources of spiritual insight necessary for the welfare of society' (Efland 1990, p. 51). In view of this, many questions started to gain momentum in academic circles. Such as, when and how does spirituality manifest in art? Is spirituality in art and art education purely a religious concern? Is there a spiritual impetus that fosters creativity? While trying to explain these questions, researchers confronted a few more enquiries of equal importance. For example, what is the connection between spiritual and art education and why has this branch of art (spiritual in art education) received less attention in academic literature and art rooms (London 2007)?This study aims to shed some light on these questions and following on the findings, analyse (a) the role of spirituality in art and art education; and (b) how an artist-teacher can deal with the issues of spirituality in art making and classroom practices? For clarity, the essay initially focuses on spirituality, its position among children and art education. Next follows an investigation of the role of artist-teacher in nurturing the spirituality of children through art, including a brief account of my art practice. Finally, conclusions are drawn about my understanding of spirituality and the learning experiences of my students in the light of the aforementioned questions.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.80460","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:54:57Z","timestamp":1498053297000},"source":"Crossref","is-referenced-by-count":0,"title":["The role of spirituality in art education"],"prefix":"10.22501","author":[{"family":"Syed Gowhar Andrabi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:05Z","timestamp":1784282465000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/80460\/80461"}},"issued":{"date-parts":[[2014,6,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.80460","published":{"date-parts":[[2014,6,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:13Z","timestamp":1784286493578,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2018,9,24]],"date-time":"2018-09-24T00:00:00Z","timestamp":1537747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,9,24]]},"abstract":"Name: Rachel Mills\u2028\u2028Main Subject: Classical Cello\u2028\u2028Research Supervisor: Stefan Petrovic\u2028\u2028Title of Research: Intentional Listening\u2028\u2028Research Question: How does listening to recordings while learning a piece affect one\u2019s artistic interpretation?\u2028\u2028Summary of Results:\u2028Since beginning my masters, I have been intrigued with the concept of finding personal interpretations for the pieces I play. However, I found that when confronted with a standard take on a piece, I would doubt the legitimacy and usefulness of my own ideas. As a result, my research aimed to discover ways for myself and other studying musicians to find individuality in their music. Because the ease of access to recordings is such an important influence for musicians, this research focuses on how students can refer to recordings without allowing them to override personal creativity.\u2028The resulting research emphasizes the importance of intention, both in consulting recordings and in creating takes that one believes in. I have identified five ways to use recordings to help one determine a reason for consulting them. In addition, I have discovered a process of recording myself and intentionally listening to these recordings with a focus on my interpretation\u2019s effectiveness. It is my hope that these processes will also work as a suggestion for other advance music students working towards discovering their artistic identity.\u2028\u2028Biography:\u2028Rachel Mills is pursuing a master degree at the Royal Conservatoire of The Hague where she studies with Jan Ype Nota and Michel Strauss.\u00a0A native of New York State, she received her bachelors from Oberlin Conservatory in Ohio under Amir Eldan.\u00a0While at Oberlin, Mills performed both as a soloist and with her quartet on multiple honors recitals and collaborated on recording projects with the Contemporary Music Ensemble, Oberlin Orchestra, and Sinfoniette.\u00a0She has frequently sat principle cellist in student ensembles, including the New York State All-State Orchestra and on the Oberlin Orchestra\u2019s most recent tour to Chicago\u2019s Symphony Center.\u00a0 Mills has also participated in advanced and fellowship chamber music programs across the United States.\u00a0In addition to her studies, Mills is passionate about finding ways to inspire young people to engage with classical music. In doing so, she thrice traveled to Panama to teach and perform in connection with the National Music Association there.<\/jats:p>\n keywords: listening, recordings, individuality, artistic identity<\/jats:p>","DOI":"10.22501\/koncon.299978","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:43:52Z","timestamp":1725907432000},"source":"Crossref","is-referenced-by-count":0,"title":["Intentional Listening"],"prefix":"10.22501","author":[{"family":"Rachel\tMills","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:46:57Z","timestamp":1784285217000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/299978\/299979"}},"issued":{"date-parts":[[2018,9,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.299978","published":{"date-parts":[[2018,9,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:07Z","timestamp":1784289787388,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","license":[{"start":{"date-parts":[[2023,11,9]],"date-time":"2023-11-09T00:00:00Z","timestamp":1699488000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2023,11,9]]},"abstract":"This article discusses the voices of resistance emerging in the work of the Citizen Surgery Collective, an interdisciplinary practice-based research group I initiated in 2020. The collective consists of artists, critical posthumanists, anthropologists, and activists in the UK and the Netherlands. The collaborative work included in this exposition concerns the relationship between (non)human animal bodies and food, specifically through surgical simulation and sensory skills acquisition. These practices are geared toward multispecies justice, and they form a serial inquiry into ways of challenging animal-based food systems and meat-related cognitive dissonance. Reversely, they investigate ways to train surgical skills with food and by eating instead of using live or dead animal models. Our collective practices re-enact surgical choreographies and dialogue to analyze both the materiality and connotations of the food\/body intersection and the process of dissolving interspecies boundaries by eating.<\/jats:p>\n keywords: Surgery, Simulation, Non-Human Animal, Food, Meat, Cognitive Dissonance, Veganism, Victimless Cannibalism<\/jats:p>","DOI":"10.22501\/ruu.2025537","type":"journal-article","created":{"date-parts":[[2023,11,9]],"date-time":"2023-11-09T08:03:28Z","timestamp":1699517008000},"source":"Crossref","is-referenced-by-count":0,"title":["Challenging animal-based food systems: Citizen Surgery on vegan body simulators"],"prefix":"10.22501","author":[{"family":"Kaisu Koski","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:08Z","timestamp":1784286368000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2025537\/2025536"}},"issued":{"date-parts":[[2023,11,9]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2025537","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2023,11,9]]}},{"indexed":{"date-parts":[[2026,9,16]],"date-time":"2026-09-16T13:04:07Z","timestamp":1789563847639,"version":"build-2803163510"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"-11","license":[{"start":{"date-parts":[[2026,9,16]],"date-time":"2026-09-16T00:00:00Z","timestamp":1789516800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2026,9,16]]},"abstract":"Rammer og romUtvikling av toradarspel med utgangspunkt i overf\u00f8ring av l\u00e5tspel fr\u00e5 hardingfele og fele. Prosjektet r\u00f8rer seg i feltet tradisjonsmusikk i Noreg og Sverige. Det har teke utgangspunkt i dei mest vanlege instrumenta i sjangeren, hardingfela og fela, og kandidaten sitt hovudinstrument, toradar\/treradar. Fokus for utforskinga har vore instrumentet, to ulike bygdedanstypar, samspel i duoformat og samspel med dansarar. Temaa har vorte unders\u00f8kt gjennom overf\u00f8ring og ut\u00f8ving av l\u00e5tmateriale i Vestland og Hedmark, komponering av nye l\u00e5tar og spel med dans. Utforskinga har vorte gjort solo og i samspel med Jeanette Evansson, fele\/hardingfele, med Jonas \u00c5kerlund, feler m.m., og med dansarane H\u00e5kon Dregelid og Ami Dregelid. Dei forskjellige elementa har p\u00e5verka kvarandre. Prosjektet har stilt sp\u00f8rsm\u00e5l som: Kva opplever me er det mest vesentlege i l\u00e5tspel i dei to musikktradisjonane? Kor er rommet for variasjon? Kva er dei kunstnarlege kvalitetane innan desse rammene? Kva val gjer eg i overf\u00f8ringsprosessen fr\u00e5 hardingfela\/fela til mitt instrument? Kva er skilnaden mellom ein l\u00e5t spelt med dans og ein l\u00e5t spelt utan dans? Kva gjer spel dansbart? Kva gjer dans spelbar? Kva funksjon har flow i det ut\u00f8vande arbeidet? Eg har sett og ser eit behov for fleire uttrykksformer p\u00e5 toradar, behov for spr\u00e5k og omgrep om det \u00e5 spela instrumentet, og eit spr\u00e5k for kva som skjer i samspel med dans. Prosjektet framhevar og utdjupar kvalitetar i sjangeren, og det er desse s\u00e6reeigne kvalitetane og korleis dei kommuniserer som har vore fokus i prosessen og som har kome m\u00e5tar fram p\u00e5 ulike i resultata. Gjennom utforsking av eit nyutvikla instrument: ein to-i-ein-treradar, bygd av instrumentmakaren Emmanuel Pariselle, har prosjektet gjeve kunstnarlege resultat i form av eit soloalbum, to duoalbum og eit album spelt inn med dansarar. Eit undervisningsverk i form av e-bok, med lyd og bilde, vart ogs\u00e5 utvikla undervegs.Refleksjonsdelen av prosjektet best\u00e5r av tekstar som unders\u00f8kjer prosessane fram mot dei ulike kunstnarlege resultata, og plasserer prosjektet i ein kunstfagleg kontekst. Tittelen Rammer og rom er inspirert av professor i kulturfilosofi Mikkel B. Tin og viser til det kunstnarlege handlingsrommet som finst innanfor, og vert skapt av rammene i ein tradisjon.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/kmd-ar.4367809","type":"journal-article","created":{"date-parts":[[2026,9,16]],"date-time":"2026-09-16T12:13:56Z","timestamp":1789560836000},"source":"Crossref","is-referenced-by-count":0,"title":["RAMMER OG ROM"],"prefix":"10.22501","author":[{"family":"Anette Thorsheim","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,9,16]],"date-time":"2026-09-16T12:13:56Z","timestamp":1789560836000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4367809\/4370203"}},"issued":{"date-parts":[[2026,9,16]]},"references-count":0,"journal-issue":{"issue":"-11"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.4367809","published":{"date-parts":[[2026,9,16]]}},{"institution":[{"name":"Universitetet i Bergen","acronym":["UiB"],"place":["Bergen"],"department":["KMD"]}],"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T05:14:29Z","timestamp":1648790069056},"reference-count":0,"publisher":"Universitetet i Bergen KMD","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/kmd-ar.1197726","type":"report","created":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:38:36Z","timestamp":1623055116000},"source":"Crossref","is-referenced-by-count":0,"title":["Rehearsing memories - Naming the dead. Performative aspects of political loss"],"prefix":"10.22501","author":[{"given":"Maria","family":"Paschalidou","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021,3,1]]},"deposited":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T08:38:36Z","timestamp":1623055116000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1197726\/1197727"}},"issued":{"date-parts":[[2021,3,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1197726","published":{"date-parts":[[2021,3,1]]}},{"indexed":{"date-parts":[[2022,11,15]],"date-time":"2022-11-15T06:10:15Z","timestamp":1668492615076},"posted":{"date-parts":[[2022,11,14]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1809954","type":"posted-content","created":{"date-parts":[[2022,11,14]],"date-time":"2022-11-14T11:43:12Z","timestamp":1668426192000},"source":"Crossref","is-referenced-by-count":0,"title":["Autonym: On the Inner Life of a Stringed Body"],"prefix":"10.22501","author":[{"family":"Jordan Sand","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2022,11,14]],"date-time":"2022-11-14T11:43:12Z","timestamp":1668426192000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1809954\/1809955"}},"issued":{"date-parts":[[2022,11,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1809954","published":{"date-parts":[[2022,11,14]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:33Z","timestamp":1784286513436,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2016,10,13]],"date-time":"2016-10-13T00:00:00Z","timestamp":1476316800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,10,13]]},"abstract":"The purpose of this research is to define methods of applying extra-musical and data-based systems in multimedia music works. The first part of the paper concentrates on the outline of the motivation and reasoning for using extra-musical systems from a composer's or sound artist's perspective and gives a historical precedent context. Parallels are drawn together with contemporary art and art critique examples. The second part of the research outlines the possible modes of the data-based systems application by analysing multiple multimedia works by composers or sound artists written in the last two decades including a piece by the author of the paper. The types of multimedia and its connection to sound are discussed, the conceptual deconstruction and its semiotic implications of the data used are analysed. The given conceptual and semantic context is applied for analysing the musical parameters and data's usage in sound control. Each of the pieces discussed outlines a particular mode of the conceptuality towards the extra-musical system usage and functions as a primal device for further conclusions drawn. The final part of the research consists of the general overview of the conclusions drawn and attempts to establish a general outline of the motivation and the resulting outcome behind the usage of the extra-musical systems in multimedia works.<\/jats:p>\n keywords: multimedia, extra-musical, sonification, sound art, composition, Conceptual art, interpretation, visual art, Data Sonification, relational, interdisciplinarity, intertextuality<\/jats:p>","DOI":"10.22501\/koncon.279312","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:47:19Z","timestamp":1725907639000},"source":"Crossref","is-referenced-by-count":0,"title":["Extra-musical Systems in Music: their implementation in contemporary music in the context of multimedia"],"prefix":"10.22501","author":[{"family":"Andrius Arutiunian","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:52:52Z","timestamp":1784285572000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/279312\/279313"}},"issued":{"date-parts":[[2016,10,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.279312","published":{"date-parts":[[2016,10,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974789,"version":"3.55.0"},"posted":{"date-parts":[[2023,11,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,11,28]],"date-time":"2023-11-28T00:00:00Z","timestamp":1701129600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The weft is an article that requests to hold time and attention about time-based art practices, especially the ones that rely on time as a medium with the usage of technology and multimedia formats to be presented live in the case of performance art, for example. The article is more than a dialogue of a theory, it is a speculation about the future of these practices in terms of cultural impact and sustainability. The questions and speculations posed a question about the status of these practices within the facilitation in educators and practitioners related to Time.<\/jats:p>\n keywords: cross-disciplinary, performance<\/jats:p>","DOI":"10.22501\/rc.2411209","type":"posted-content","created":{"date-parts":[[2023,11,28]],"date-time":"2023-11-28T17:03:14Z","timestamp":1701190994000},"source":"Crossref","is-referenced-by-count":0,"title":["The weft. Time-based media arts and cross-art practices."],"prefix":"10.22501","author":[{"family":"Sergio Patricio","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:06Z","timestamp":1784282346000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2411209\/2411208"}},"issued":{"date-parts":[[2023,11,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2411209","published":{"date-parts":[[2023,11,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023055,"version":"3.55.0"},"posted":{"date-parts":[[2022,2,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,2,4]],"date-time":"2022-02-04T00:00:00Z","timestamp":1643932800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Within this self-study, I aim to create an effective warmup that prepares me mentally for performance situations, and which can reduce my level of stress in such scenarios. As a dancer who often suffers from stage fright, finding a solution is a challenging, yet an important step to take.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1490774","type":"posted-content","created":{"date-parts":[[2022,2,3]],"date-time":"2022-02-03T22:44:09Z","timestamp":1643928249000},"source":"Crossref","is-referenced-by-count":0,"title":["Performance Anxiety - Creating a Warmup Using Mindfulness Techniques"],"prefix":"10.22501","author":[{"family":"Enik\u0151 Szili","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:54Z","timestamp":1784282394000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1490774\/1490775"}},"issued":{"date-parts":[[2022,2,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1490774","published":{"date-parts":[[2022,2,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:02Z","timestamp":1742294402948,"version":"3.40.1"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0033","type":"report","created":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T06:47:49Z","timestamp":1594882069000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Lucy Cotter (ed.) \u201cReclaiming Artistic Research\u201d"],"prefix":"10.22501","author":[{"given":"Leslie D.","family":"Joynes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,7,16]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:06Z","timestamp":1742292186000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-lucy-cotter-ed-reclaiming-artistic-research"}},"issued":{"date-parts":[[2020,7,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0033","published":{"date-parts":[[2020,7,16]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:02Z","timestamp":1742358182923,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0053","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T15:27:41Z","timestamp":1640878061000},"source":"Crossref","is-referenced-by-count":0,"title":["Devorar o Outro"],"prefix":"10.22501","author":[{"given":"Lucio","family":"Agra","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:20Z","timestamp":1742292200000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/pt\/devorar-o-outro"}},"issued":{"date-parts":[[2021]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0053","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2021]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:29Z","timestamp":1784365889087,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2023,11,13]],"date-time":"2023-11-13T00:00:00Z","timestamp":1699833600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2023,11,13]]},"abstract":"Becoming Animal has sought to explore the boundaries and parralels between the musical bodies of different creatures.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.1787404","type":"journal-article","created":{"date-parts":[[2023,11,13]],"date-time":"2023-11-13T09:34:50Z","timestamp":1699868090000},"source":"Crossref","is-referenced-by-count":0,"title":["Becoming Animal_Simon L\u00f8ffler"],"prefix":"10.22501","author":[{"family":"Simon L\u00f8ffler","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jonas Howden Sj\u00f8vaag","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:01:48Z","timestamp":1784365308000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1787404\/1787405"}},"issued":{"date-parts":[[2023,11,13]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1787404","published":{"date-parts":[[2023,11,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:38Z","timestamp":1784283038693,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time. Individual micro-curated expositions are linked together for www.covidglossary.net in order to generate non-linear readings of the pandemic.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1271172","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T03:25:18Z","timestamp":1622690718000},"source":"Crossref","is-referenced-by-count":0,"title":["COVID ROUTINES"],"prefix":"10.22501","author":[{"family":"moomal shekhawat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Vastavikta Bhagat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:07Z","timestamp":1784282407000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1271172\/1271173"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1271172","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:42Z","timestamp":1784283042756,"version":"3.55.0"},"posted":{"date-parts":[[2020,9,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,9,9]],"date-time":"2020-09-09T00:00:00Z","timestamp":1599609600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is the audiovisual companion to the Organised Sound article entitled: Co-Sounding: Fostering Intersubjectivity in Electronic Music Improvisation (Otso L\u00e4hdeoja & Alejandro Montes de Oca, 2020).The exposition showcases research documentation consisting of 23 video examples with explanatory notes, interview transcriptions, and electronic instrument design schematics.References and discussion pointing to the documentation exposed herein may be found in the Organised Sound article.The documentation shows three successive stages of research on the technological mediation of musicians' intersubjectivity within the electronic music context.A) Duo work on modular synthesizerB) '4-hands' deejayingC) Web-mediated music-making using digital audio workstation software and remote hardware control.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.859955","type":"posted-content","created":{"date-parts":[[2020,9,9]],"date-time":"2020-09-09T15:29:52Z","timestamp":1599665392000},"source":"Crossref","is-referenced-by-count":0,"title":["Co-Sounding: Fostering Intersubjectivity in Electronic Music Improvisation; video repository"],"prefix":"10.22501","author":[{"family":"Otso Tapio Aavanranta","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"ORCID":"https:\/\/orcid.org\/0009-0000-2423-8652","authenticated-orcid":false,"family":"Alejandro Montes de Oca","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:31Z","timestamp":1784282431000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/859955\/859956"}},"issued":{"date-parts":[[2020,9,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.859955","published":{"date-parts":[[2020,9,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:48Z","timestamp":1784282988098,"version":"3.55.0"},"posted":{"date-parts":[[2019,12,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,12,11]],"date-time":"2019-12-11T00:00:00Z","timestamp":1576022400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition represents a collection of Saman Samadi's solo and chamber works for saxophone. The first four pieces were composed since the year 2015 during which the author explored various techniques to score timely structured improvisational compositions. That same year, these works were premiered by saxophonist Anthony Izzo, pianist Saman Samadi, and LX Saxophone Quartet in Brooklyn's Shapeshifter Lab as well as W10 Performing Arts Center. On the contrary, \"Scheherazade\", Saxophone Quartet No.2, composed in the Spring of 2017 and dedicated to Cl\u00e9mentine Scheherazade Samadi, was written through a precisely detailed fixed-notated score. This piece was commissioned and premiered by LX Saxophone Quartet at Lincoln Center NYC, on the day Scheherazade was born, the 22nd of June, 2017. On the 17th of July, 2017, the recording of this performance, and on the 7th of December 2018, an album consisting of the audio recordings of the compositions from 2015 have been published on digital music platforms.<\/jats:p>\n keywords: saxophone, composition, microtonal music, improvisational scores<\/jats:p>","DOI":"10.22501\/rc.753966","type":"posted-content","created":{"date-parts":[[2019,12,11]],"date-time":"2019-12-11T00:10:17Z","timestamp":1576023017000},"source":"Crossref","is-referenced-by-count":0,"title":["Chamrosh"],"prefix":"10.22501","author":[{"family":"Saman Samadi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:41Z","timestamp":1784282441000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/753966\/753967"}},"issued":{"date-parts":[[2019,12,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.753966","published":{"date-parts":[[2019,12,11]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993733,"version":"3.55.0"},"posted":{"date-parts":[[2023,5,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,5,31]],"date-time":"2023-05-31T00:00:00Z","timestamp":1685491200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this project, I set out to investigate and increase my understanding of the ways in which art and music can be used to give us the strength to process difficult emotions arising from complex societal issues and injustices. In psychology, artistic processes can be seen as a way of bridging the external world with the artist's internal world, thereby creating individual logic and organised chaos. (Kogan, 2018; Stratou, 2014; Hagman, 2010). Creating art is a process of the artist processing the outer world within their inner world and channelling the combined emotions into a form of artistic expression, (Stratou, 2014; Kogan, 2018; Hagman, 2010) which, in my case, is music. With my current work, the creation process itself takes place in the forest because to me, that is a space that balances the complex and at times overwhelming external world and my internal world. By going into the forest I become immersed in the natural external world, rather than composing conceptual ideas of music in a practice room, isolated from the multi-sensual external world. As a consequence, the natural environment of the forest provided rich inspiration for composing music, providing stability and calm between my inner world and current external complexities. Urban landscapes and nature provide a haven for people in urban environments, especially those living in apartments, such as myself (Tan, Liao, Hwang, & Chua, 2018).Throughout the project I uncovered new reflections and discoveries about moral responsibility following my research question of: How can art and music enable us to process difficult societal issues, emotions and give us hope?<\/jats:p>\n keywords: internal and external world, complex societal issues, site-specific art, difficult emotions, moral responsibilityart as a reparative process, SITE-SPECIFIC ART, artistic research, moral responsibility, art as a reparative process, music<\/jats:p>","DOI":"10.22501\/rc.1754698","type":"posted-content","created":{"date-parts":[[2023,4,30]],"date-time":"2023-04-30T06:41:49Z","timestamp":1682836909000},"source":"Crossref","is-referenced-by-count":0,"title":["Pause in Nature, then Carry on with Hope"],"prefix":"10.22501","author":[{"family":"Vija Anna Moore","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:30Z","timestamp":1784282370000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1754698\/1754733"}},"issued":{"date-parts":[[2023,5,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1754698","published":{"date-parts":[[2023,5,31]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025353,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"32","license":[{"start":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T00:00:00Z","timestamp":1721001600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,7,15]]},"abstract":"O projeto apresenta-se como uma investiga\u00e7\u00e3o centrada nas reverbera\u00e7\u00f5es da pr\u00e1tica art\u00edstica diante dos arquivos institucionais e privados e de imagens e objetos-vest\u00edgios encontrados no Vale do Ave (Portugal), relacionados \u00e0 hist\u00f3ria, ao imagin\u00e1rio e \u00e0 mem\u00f3ria do itiner\u00e1rio do algod\u00e3o e da ind\u00fastria t\u00eaxtil algodoeira neste territ\u00f3rio.Atrav\u00e9s de caminhadas, do respigo de imagens, documentos e objetos e de um processo cr\u00edtico de fabula\u00e7\u00e3o ativam-se linguagens art\u00edsticas que questionam as narrativas e discursos monol\u00edticos prevalecentes nos modos como a hist\u00f3ria se constr\u00f3i e institu\u00ed nos espa\u00e7os de enuncia\u00e7\u00e3o p\u00fablica, formando as identidades regionais e nacionais e os imagin\u00e1rios sociais e coletivos.Problematiza-se assim as aus\u00eancias e os negativos produzidos por uma hist\u00f3ria monumental, como espa\u00e7os apor\u00e9ticos mas ao mesmo tempo produtivos e agenciadores de outras narrativas potenciais acerca do passado, do presente e do futuro.English:From the absent imageThe project presents a research centred on the reverberations of artistic practice in the face of institutional and private archives, images and trace objects found in Vale do Ave (Portugal), related to the history, imagery and memory of the itinerary of cotton and the textile industry in this territory. Through walking, gleaning of images, documents and objects, and a critical process of fabulation, artistic languages are activated, questioning the prevailing monolithic narratives and discourses on how history is constructed and instituted in public spaces, forming regional and national identities and social and collective imaginaries. In this way, the absences and negatives produced by a monumental history are problematised as aporetic spaces that are simultaneously productive and agents of other potential narratives of the past, present and future.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&file=2936357\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: artistic practice, archives, images, objects, Vale do Ave, cotton, walking, history, absences, negatives<\/jats:p>","DOI":"10.22501\/jar.1618871","type":"journal-article","created":{"date-parts":[[2024,7,15]],"date-time":"2024-07-15T06:47:08Z","timestamp":1721026028000},"source":"Crossref","is-referenced-by-count":0,"title":["Da imagem ausente"],"prefix":"10.22501","author":[{"family":"Ludgero Almeida","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:11Z","timestamp":1784282351000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1618871\/1618872"}},"issued":{"date-parts":[[2024,7,15]]},"references-count":0,"journal-issue":{"issue":"32"},"URL":"https:\/\/doi.org\/10.22501\/jar.1618871","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2024,7,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:34Z","timestamp":1784289814392,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T00:00:00Z","timestamp":1591574400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,8]]},"abstract":"In this exposition I discuss a human\u2019s relationship with the environment, in terms of sensation and encounter. I describe my artistic practice implemented with the artist group Ajauksia, as a member of it. We, as a group, explore various sensory encounters with the environment through sensory exercises and, to that end, organize sensory excursions in different urban environments. We participated in the Research Pavilion # 3 (RP #3), coordinated by the University of the Arts Helsinki in the context of the Venice Biennale. Here I describe the work of Ajauksia within the project, from my perspective. I join in the theme of this Ruukku publication, ecologies of practice, by describing how we developed sustainable modes of artistic research in and through processes of collaborating, performing and discussing. Now, after the project, I reflect on the ideas, experiences and opportunities for interaction with different parties. I focus in particular on the two very different environments where we worked, the Kontula suburb of Helsinki and the island of Giudecca, Venice, where Research Pavilion #3 was located.<\/jats:p>\n keywords: encountering, performance, environment, nature, artistic process, collaboration, practice, sensation<\/jats:p>","DOI":"10.22501\/ruu.683792","type":"journal-article","created":{"date-parts":[[2020,6,7]],"date-time":"2020-06-07T23:31:20Z","timestamp":1591572680000},"source":"Crossref","is-referenced-by-count":0,"title":["Sensory excursion as a site of encounter"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-2573-3692","authenticated-orcid":false,"family":"mari martin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:10:17Z","timestamp":1784286617000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/683792\/683793"}},"issued":{"date-parts":[[2020,6,8]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.683792","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2020,6,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:26Z","timestamp":1784286506600,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2015,5,28]],"date-time":"2015-05-28T00:00:00Z","timestamp":1432771200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,5,28]]},"abstract":"AbstractName: Barbara BekhofMain Subject: ViolaResearch Coach: Susan WilliamsTitle of Research: How to use feedback, advice and judgement after an examResearch Question: How can feedback, advice and judgement be used in such a way, that it contributes to the learning process of the students?Summary of Results:This research paper is to conclude the study at the Royal Conservatory. This paper answers the question of how to use feedback, advice and judgments during an exam, and during the preparation of it. Feedback is information about how we are doing in our efforts to reach a goal. Important when giving feedback is that the learner is aware of receiving the feedback, and that the comments are objective. Advice is an opinion or recommendation offered as a guide to action. Important when giving advice is that the person receiving the advice is willing to receive advice and understands on what feedback the advice is based. A value judgment is a judgment of the rightness or wrongness of something or someone, or of the usefulness of something or someone, based on a comparison or other relativity. Judgement is an important part of an exam. For students it is important to know what the criteria are, and towards what they have to work to. To understand more of the learning process, different aspects of playing a string instrument are discussed in the fifth chapter. These aspects are technical facility, musicality and performance quality. The different phases in a musician\u2019s preparation are discussed in the sixth chapter. From learning the score till mastering a piece. In this research all those aspects are combined to offer a guideline for juries and guideline for teachers during the preparation. Recommended for the examinations of the Royal Conservatoire would be to draw up a set of criteria, which are clear for the students and for the teachers who will grade the students.Biography: Barbara Bekhof (1991) first started playing the violin at age 6. From age 12 she attended the external preliminary program of the Royal Conservatoire, where she was taught by Koosje van Haeringen and from 2008 viola with Liesbeth Steffens. After graduating from the gymnasium, she went on to study Building Engineering at the TU Delft, while simultaneously continuing the viola. In 2013 she received her bachelor diplomas for both Building Engineering as Viola. Her masters at the Royal Conservatoire enabled her to go on exchange to the Haute Ecole de Musique in Lausanne, where she studied under the renowned violist Alexander Zemtsov. After her return, she continued her master with Michael Zemtsov, as well as the master Urbanism at the TU Delft.<\/jats:p>\n keywords: Feedback, Advice, Judgment, Music, Teaching, Exam<\/jats:p>","DOI":"10.22501\/koncon.137139","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:49:03Z","timestamp":1725907743000},"source":"Crossref","is-referenced-by-count":0,"title":["How to use feedback, advice and judgement after an exam"],"prefix":"10.22501","author":[{"family":"Barbara\tBekhof","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:56:38Z","timestamp":1784285798000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/137139\/137140"}},"issued":{"date-parts":[[2015,5,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.137139","published":{"date-parts":[[2015,5,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:39Z","timestamp":1784286519656,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,30]]},"abstract":"This exposition charts a creative collaboration between two humans, two lakes and a stormwater drain. By thinking with water as archive and unknowability, making art with the water-bodies of significance to them, and drawing upon the thoughts of key scholars and Indigenous artists, the authors explore questions of ancestry, memory, belonging, and ecological recuperation. Throughout this process, they reflect upon and dialogue about the pedagogical implications of their creative collaboration, undertaken at the intersection of new-materialist arts and common worlds environmental education.<\/jats:p>\n keywords: common world pedagogy, Lithography, embroidery, collage, drawing, thinking with water, New Materialist Pedagogy, creative collaboration<\/jats:p>","DOI":"10.22501\/ruu.2979167","type":"journal-article","created":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:45:02Z","timestamp":1767095102000},"source":"Crossref","is-referenced-by-count":0,"title":["You, Me, the Lakes and the Storm Water Drain"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-3763-4379","authenticated-orcid":false,"family":"Naomi Zouwer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Affrica Taylor","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:01:50Z","timestamp":1784286110000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2979167\/3177611"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2979167","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2025,12,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:51Z","timestamp":1784286531021,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2014,9,8]],"date-time":"2014-09-08T00:00:00Z","timestamp":1410134400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,8]]},"abstract":"This Research Investigates the musical relation Between Researcher and Performer in the 18th Century and its philosophical assumptions<\/jats:p>\n keywords: 18th century, performance, Galant Style<\/jats:p>","DOI":"10.22501\/koncon.95488","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:49:22Z","timestamp":1725907762000},"source":"Crossref","is-referenced-by-count":0,"title":["The Performer Composer Relation"],"prefix":"10.22501","author":[{"family":"Joao Carlos Ferreira de Miranda Santos","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:57:39Z","timestamp":1784285859000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/95488\/95489"}},"issued":{"date-parts":[[2014,9,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.95488","published":{"date-parts":[[2014,9,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:52Z","timestamp":1784282992969,"version":"3.55.0"},"posted":{"date-parts":[[2024,2,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T00:00:00Z","timestamp":1708560000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Summary of group discussions on methods and places<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2444473","type":"posted-content","created":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T13:59:56Z","timestamp":1708610396000},"source":"Crossref","is-referenced-by-count":0,"title":["Group discussions on methods and places, 2020"],"prefix":"10.22501","author":[{"family":"Natasha Barrett","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:51Z","timestamp":1784282331000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2444473\/2444474"}},"issued":{"date-parts":[[2024,2,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2444473","published":{"date-parts":[[2024,2,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:00Z","timestamp":1784283000299,"version":"3.55.0"},"posted":{"date-parts":[[2020,9,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,9,28]],"date-time":"2020-09-28T00:00:00Z","timestamp":1601251200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Since its 1955 premiere, Le Marteau sans maitre, by Pierre Boulez, has consistently been regarded as one of the more important modernist compositions of the post-war era. Certainly, it ranks among the best-known works of Pierre Boulez and our purpose is to see if we can uncover some of its structures. This composition, based on a text by Ren\u00e9 Char, was written for alto voice, flute, viola, guitar, vibraphone, and percussion. Before Le Marteau, Boulez had created some other serial works: Structures I for two pianos, Polyphonie X for eighteen instruments, and another tour-de-force, known as the Second Piano Sonata which gained him an international reputation back in 1950. Although many have attempted to analyze Le Marteau's serial organization, Lev Koblyakov has been considered successful in analyzing it. Boulez\u2019s multiple serial compositional techniques have been greatly illuminated through Koblyakov\u2019s work; taking this as my touchstone, I will herein discuss a few of the compositional strategies utilized by Boulez.<\/jats:p>\n keywords: music analysis, composition, music theory, Pierre Boulez<\/jats:p>","DOI":"10.22501\/rc.718708","type":"posted-content","created":{"date-parts":[[2020,9,27]],"date-time":"2020-09-27T21:40:30Z","timestamp":1601242830000},"source":"Crossref","is-referenced-by-count":0,"title":["An Analytical Study on Pierre Boulez\u2019s Le Marteau sans ma\u00eetre"],"prefix":"10.22501","author":[{"family":"Saman Samadi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:31Z","timestamp":1784282431000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/718708\/718709"}},"issued":{"date-parts":[[2020,9,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.718708","published":{"date-parts":[[2020,9,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:00Z","timestamp":1784283000302,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,14]],"date-time":"2020-12-14T00:00:00Z","timestamp":1607904000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"CPA - December 2020<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1086639","type":"posted-content","created":{"date-parts":[[2020,12,14]],"date-time":"2020-12-14T05:19:02Z","timestamp":1607923142000},"source":"Crossref","is-referenced-by-count":0,"title":["Red heels"],"prefix":"10.22501","author":[{"family":"Milou van Vlijmen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:27Z","timestamp":1784282427000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1086639\/1086640"}},"issued":{"date-parts":[[2020,12,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1086639","published":{"date-parts":[[2020,12,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:22:56Z","timestamp":1725927776375},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"DOI":"10.22501\/koncon.1407410","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:31:20Z","timestamp":1725874280000},"source":"Crossref","is-referenced-by-count":0,"title":["The violoncello in the musical aesthetic of the second half of the 18th century in Germany: The Empfindsamer Stil in cello music by C.P.E Bach"],"prefix":"10.22501","author":[{"family":"Sara Vicioso Usero","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:31:25Z","timestamp":1725874285000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1407410\/1407411"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1407410","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:31Z","timestamp":1784289811082,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T00:00:00Z","timestamp":1615161600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,3,8]]},"abstract":"Musicians examining performance anxiety within the context of their own regular concert performances, is a rare event in western classical music. The Western classical music culture, from conservatory to the professional life that follows, is tinged with disciplined practise, competitions, result-focused ambition and demands for perfection. There is little or no room to explore psychological issues connected to the profession, a silence that needs to be addressed. Classical musicians are highly dedicated to their vocation but they also suffer from more music performance anxiety (MPA) than musicians in other musical genres. This article gives examples on how musicians themselves can find new ways of emotionally regulate MPA by identifying performance values connected to the traditions and ceremonies of classical music. Built in values concerning performance can be defined and explored through experimental concert settings. Furthermore the article gives examples on how Artistic Research (AR) projects are designed to challenge the silenced artist in the traditional classical concert setting and how AR can contribute to the research field of MPA giving voice to the artist's thoughts. The experimental projects presented in this article describe how different interventions can help to regulate the artist's emotions and at the same time develop concert performance practice. One project connects neuroscientific findings to performance and the second one is based on the psychoanalytic concept of play.<\/jats:p>\n keywords: emotional regulation, music performance anxiety, artistic research, performance values, play<\/jats:p>","DOI":"10.22501\/ruu.798739","type":"journal-article","created":{"date-parts":[[2021,3,8]],"date-time":"2021-03-08T08:56:50Z","timestamp":1615193810000},"source":"Crossref","is-referenced-by-count":0,"title":["Play: emotional regulation in classical music performance"],"prefix":"10.22501","author":[{"family":"Francisca Skoogh","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:32Z","timestamp":1784286512000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/798739\/798740"}},"issued":{"date-parts":[[2021,3,8]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/ruu.798739","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2021,3,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:43Z","timestamp":1784282983680,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,28]],"date-time":"2024-06-28T00:00:00Z","timestamp":1719532800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition contains six letters about the work No-Show that was performed in Reykjav\u00edk in 2020. The performance is a part of the artistic PhD research \"How Little is Enough?\" Sustainable Methods of Performance for Transformative Encounters in Malm\u00f6 Theatre Academy at Lund University. The letters address different aspects of my artistic practice and research such as motivation, method, affect, ethics and the findings. No Show is a series of five immersive participatory performances, solitary experiences performed in five private homes in different neighbourhoods of Reykjav\u00edk in June \u2013 August 2020.<\/jats:p>\n keywords: sustainability, immersive theatre, participation, site-specificity, affect, nature, wabi sabi, performance, human specificity, relation specific performance, existential sustainability<\/jats:p>","DOI":"10.22501\/rc.1301252","type":"posted-content","created":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T05:29:51Z","timestamp":1717219791000},"source":"Crossref","is-referenced-by-count":0,"title":["No Show"],"prefix":"10.22501","author":[{"family":"Steinunn Kn\u00fats \u00d6nnud\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:43Z","timestamp":1784282323000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1301252\/1301253"}},"issued":{"date-parts":[[2024,6,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1301252","published":{"date-parts":[[2024,6,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981897,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T00:00:00Z","timestamp":1622592000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.On smudging of territorial spatialities, forming new peer networks, post institution and connecting with the world.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1266432","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T07:49:18Z","timestamp":1622620158000},"source":"Crossref","is-referenced-by-count":0,"title":["Smudging boundaries - territories"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:13Z","timestamp":1784282413000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1266432\/1266433"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1266432","published":{"date-parts":[[2021,6,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:39Z","timestamp":1784286519641,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,12,30]]},"abstract":"Based on our experience conducting our own independent artistic-scientific and practice-based research projects and the experiences made over the last years leading the Doctoral Programme for Artistic Research at the University of Applied Arts and now working at ARC Artistic Research Center and their Doctor Artium programme, at mdw University of Music and Performing Arts Vienna, we propose new and unconventional approaches to supervising and supporting doctoral artistic research work, whether their focus is more practice-based, theory-oriented or artistic-scientific. Design approaches, such as the pooling of supervision and strategically introducing moments of epistemic decompression, can support projects as well as candidates in a more sustainable and pluri-vocal manner, ultimately leading to the artist-researchers\u2019 long-term independence, transcultural versatility and well-being. Reflexivity, methodology, and (somatic) learning theory are key points, as well as defining and conceptualising possibilities for supporting and supervising a line of work, which is directed into the unknown, unknowable, and uncertain, or located within limit-experiences.<\/jats:p>\n keywords: artistic research, doctoral research, experimental pedagogies, somatic learning<\/jats:p>","DOI":"10.22501\/ruu.3265756","type":"journal-article","created":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T11:43:03Z","timestamp":1767094983000},"source":"Crossref","is-referenced-by-count":0,"title":["Accompanying Public Amateurs and Ignorant Generalists: Propositions for (Experimental) Pedagogical Approaches to PhD in Art and Scientific-Artistic Projects"],"prefix":"10.22501","author":[{"family":"Ruth Anderwald","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Leonhard Grond","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:01:40Z","timestamp":1784286100000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3265756\/3265757"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3265756","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2025,12,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:36Z","timestamp":1784286456264,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,7,19]],"date-time":"2017-07-19T00:00:00Z","timestamp":1500422400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,7,19]]},"abstract":"The purpose of this research is to investigate the different ways of articulating fast passagework on the dulcian in repertoire spanning the period ca.1550 until ca.1700. Prior to 1787, when Etienne Ozi published his first edition of the Nouvelle Methode de Basson, there are no sources known that specifically discuss articulation or (double) tonguing on bass double reed instruments. When we perform music from this era, we are in the dark as how to articulate highly virtuosic passages. What is preferable: Two-by-two slurring? Slurs over more notes, or maybe the use of some kind of double tongue-stroke? During this research I will focus on primary sources that deal with articulation on various non-reed wind instruments of the period in question, such as the recorder, the cornetto and the trumpet. By studying the indications and recommendations given by masters of the past we can deduce their musical intensions. When we accept these authors as our guides, they may be able to help us imagining what articulation on a double-reed instrument could sound like. The moment we envision this concept, we can start to translate their instructions into articulation on reed instruments. The output is threefold:1. A paper describing the different ways on how to articulate fast passagework on the dulcian and on the bassoon in a way that matches the souplesse and speed of non-reed instruments.2. Two compositions written for the dulcian, with added articulation-markings by the author.3. Video examples clarifying some musical examples.With this project I hope to shed light on practical issues of the performance of highly virtuosic repertoire for dulcian and bassoon from the sixteenth and seventeenth century.<\/jats:p>\n keywords: arpeggiation, clarinet, double-reed, articulation, virtuosity, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.63493","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:46:25Z","timestamp":1725907585000},"source":"Crossref","is-referenced-by-count":0,"title":["Fast Notes!"],"prefix":"10.22501","author":[{"family":"Wouter Verschuren","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:51:22Z","timestamp":1784285482000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/63493\/315901"}},"issued":{"date-parts":[[2017,7,19]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.63493","published":{"date-parts":[[2017,7,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:20Z","timestamp":1784286500524,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2014,8,7]],"date-time":"2014-08-07T00:00:00Z","timestamp":1407369600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,8,7]]},"abstract":"Faculty research at the Royal Conservatoire The Hague focuses on a wide range of topics relevant to the artistic practice of its teaching staff, to the artistic development of its students and to the world of musical practice at large. Areas covered include informed performance practice, creative (artistic) research, instrument building, educational research, and music theory. One strand within the faculty research programme is directed towards the enhancement of the learning, practice and performing strategies of instrumentalists and vocalists. Two projects within that strand \u2013 \u2018Mental Training for Performers\u2019 by Susan Williams, and \u2018Making Music, Practising and the Brain\u2019 by Wieke Karsten \u2013 formed the occasion and motivation to organise the international conference \u2018From Potential to Performance: Training Performing Musicians in Conservatoriums\u2019 at the Royal Conservatoire, 11-13 October 2013.This publication collects knowledge, insights and practical recommendations addressed at the conference by an outstanding group of scholars and practitioners. Some contributions to this volume were published earlier as articles in their own right, some have been written for the occasion. Combined in this publication they offer a rich and thorough account of the state of the art in this emerging research field.The study of the relationship between musical practice and the physical and mental condition of its practitioners goes back to ancient Greek, to Plato\u2019s Politeia or Artistotle\u2019s Politika, where music, body and mind were conceived of as constitutive of ethos, i.e. of character, behaviour and morality. And throughout history that relationship between music, body and mind was thematised in ever-different ways; from the proto music psychology of the Baroque Affektenlehre to the Musico- Medizin speculations of the early 20th century. Only in recent decades the study of \u2018performance science\u2019 has advanced to the level of a serious research programme, rooted in both artistic practice and in cutting-edge scholarly and scientific work, combining insights from sport science, neuro-psychology, brain science, pedagogy and musical practice.The Royal Conservatoire does not only want to profit from this emerging field of research, but also aspires to contribute insights and experiences, embedded in its higher music education culture and embodied in the professionals who study and work here. With the publication of \u2018From Potential to Performance\u2019 we support the dissemination of knowledge and understanding, but we also show our commitment to the research programme and our readiness to be in front of the development. In doing so the Conservatoire manifests awareness that today\u2019s higher music education is in constant need to refine and attune its programme to an ever-changing world.<\/jats:p>\n keywords: potential, practitioners, teaching, conservatoire, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.87849","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:50:27Z","timestamp":1725907827000},"source":"Crossref","is-referenced-by-count":0,"title":["From Potential To Performance. Training Practice and Performance Preparation in Conservatoires"],"prefix":"10.22501","author":[{"family":"Wieke Karsten (older account)","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Susan Williams","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:00:07Z","timestamp":1784286007000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/87849\/87850"}},"issued":{"date-parts":[[2014,8,7]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/koncon.87849","published":{"date-parts":[[2014,8,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:48Z","timestamp":1784286468004,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,5,11]],"date-time":"2022-05-11T00:00:00Z","timestamp":1652227200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,11]]},"abstract":"Diversity and inclusion within Western art music have become topics of elevated importance in in recent discussions. To create enduring results regarding these matters, there needs to be a commitment to in-depth study of practices that will produce visible change. This is one of the goals of my research, in which I tackle issues of representation by focusing on Black women composers and their absence from the canon as overlooked and marginalized artists. It is well known that women have been denied many opportunities throughout history; as composers, many experiences crucial to professionalism were not always available to women, including music education in composition, the publication and circulation of their works, not being hired as conductors, or receiving reviews from influential critics. These opportunities and resources dwindled further if a woman was also a person of colour. Thus, in order to ensure their inclusion within the canon, these underrepresented identities demand and require unique recognition.I have examined the issue of neglected women of colour composers in classical music from an interdisciplinary standpoint, utilizing the methodologies of history and experimentation to form an \u201cintersectional feminist critical curation\u201d framework. This framework implements knowledge from intersectional feminist theory and music curation practices in order to answer following questions: \u201cWhat is the impact on new audiences of diverse backgrounds experiencing classical music through an intersectional feminist curatorial framework?\u201d, \"Can classical music be an effective device for messages of social and political change?\", and \u201cWhat is the impact on myself as a classical vocalist and a Black woman to implement an intersectional feminist curatorial framework within my musical study and performance?\u201d. The overall goal of this research was to discover an effective way forward to achieving diversity in classical music for underrepresented groups. Drawing from this study, I have created a digital performance project entitled \u201cThe Narrativity Sessions,\u201d which functioned as an experiment utilizing this knowledge of intersectional feminist theory and praxis fused with select critical curation strategies applied to my own artistic practice as a classical singer. The outcome was a novel artistic practice that can contribute to creating innovative and artistically fulfilling performances while simultaneously advancing diversity and inclusion in the classical music sphere for audiences, performers, and composers alike.<\/jats:p>\n keywords: curation, women, feminism, Feminist Theory, female experiences, Music history, Racism, racial identity, race, woman, feminist, diversity<\/jats:p>","DOI":"10.22501\/koncon.1007664","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:39:01Z","timestamp":1725907141000},"source":"Crossref","is-referenced-by-count":0,"title":["Adding to the Narrative: Intersectional Feminist Critical Curatorial Practices in Classical Vocal Music Performance"],"prefix":"10.22501","author":[{"family":"Shanice Skinner","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:36:34Z","timestamp":1784284594000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1007664\/1007665"}},"issued":{"date-parts":[[2022,5,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1007664","published":{"date-parts":[[2022,5,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023051,"version":"3.55.0"},"posted":{"date-parts":[[2022,2,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,2,9]],"date-time":"2022-02-09T00:00:00Z","timestamp":1644364800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people\u2019s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them. These attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere. Here on this exposition the group will share their findings and actions.<\/jats:p>\n keywords: art-actions, photography, performance, video, collaboration, kabk, bridges, public space, art action, PHOTOGRAPHY, VIDEO, Bridges<\/jats:p>","DOI":"10.22501\/rc.1382025","type":"posted-content","created":{"date-parts":[[2022,2,9]],"date-time":"2022-02-09T09:36:56Z","timestamp":1644399416000},"source":"Crossref","is-referenced-by-count":0,"title":["Place to Action! Art that Inteferes"],"prefix":"10.22501","author":[{"family":"Thalia Hoffman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Yannick Schop","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Lakisha Apostel","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Maryam Touzani","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Alicia Cotillas V\u00e9lez","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Robin Whitehouse","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"B\u00f8dvar Hole","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Miro Gutjahr","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"\u017dilvinas Baranauskas","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Anne-Claire Flora Mackenzie","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Gaetan Langlois-Meurinne","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:54Z","timestamp":1784282394000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1382025\/1479305"}},"issued":{"date-parts":[[2022,2,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1382025","published":{"date-parts":[[2022,2,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024225,"version":"3.55.0"},"posted":{"date-parts":[[2021,3,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,3,22]],"date-time":"2021-03-22T00:00:00Z","timestamp":1616371200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This 2016 UK\/Canadian documentary is the first practice as research project to fully explore the social and historical significance of the controversial \u2018tax shelter\u2019 films that were released in Canada between 1974 and 1984. It considers both the tax shelter phenomenon (which allowed investors to deduct 100% of taxable investment in film production), and the dramatic expansion in populist Canadian cinema it prompted (including \u2018body horror\u2019 films, home invasion thrillers, ribald teen movies and regional sex comedies).<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1169201","type":"posted-content","created":{"date-parts":[[2021,3,22]],"date-time":"2021-03-22T09:55:56Z","timestamp":1616406956000},"source":"Crossref","is-referenced-by-count":0,"title":["TAX SHELTER TERRORS: THE REAL STORY OF CANADIAN CULT CINEMA"],"prefix":"10.22501","author":[{"family":"Xavier Mendik","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:16Z","timestamp":1784282416000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1169201\/1169202"}},"issued":{"date-parts":[[2021,3,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1169201","published":{"date-parts":[[2021,3,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026488,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","license":[{"start":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T00:00:00Z","timestamp":1730851200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,6]]},"abstract":"Our bodies are porous entities that interconnect with and depend on the broader collectivity of human and nonhuman life that exists within a shared environment. Using the figuration of synthetic bodies, this exposition aims to examine the relationships in which we are enmeshed as our bodies absorb and excrete chemicals. With a focus on involuntary exposure to industrially manufactured chemicals (as opposed to exposure to naturally occurring chemicals or voluntary experimentation with chemicals of all types), this exposition invites readers to learn about the chemicals to which we are exposed and by which we are affected. With the ubiquity of chemicals in the environment, who are we becoming? How do chemicals affect us and how do we interact with them? How can we live well with chemicals in spite of their potential to harm? Adopting a decolonial feminist, posthumanist, and new materialist approach and embracing queer ecological sensibilities, this exposition develops protocols for embodied and materially embedded research practices that trace the effects of exposure to chemicals in everyday life. In so doing, it aims to demonstrate how we might build resilience through encounters with toxicity, contamination, and impurity.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"download-media?work=3155507&amp;file=3155516\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: synthetic bodies, synthetic chemicals, environmental chemicals, environment, posthumanism, new materialism, decolonial feminisms, chemical exposure, toxicity, contamination, impurity, anti-toxic action, feminist technoscience, intra-action, queer ecologies, becoming<\/jats:p>","DOI":"10.22501\/jar.1609630","type":"journal-article","created":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T04:07:58Z","timestamp":1730866078000},"source":"Crossref","is-referenced-by-count":0,"title":["synthetic bodies: protocols for intra-acting"],"prefix":"10.22501","author":[{"family":"Lenka Vesela","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:34Z","timestamp":1784282314000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1609630\/2671314"}},"issued":{"date-parts":[[2024,11,6]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1609630","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2024,11,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:43Z","timestamp":1784282983696,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,14]],"date-time":"2024-06-14T00:00:00Z","timestamp":1718323200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The video is part of artistic research that explores a dialogue between human, non-human, and forces of the land in Utsjoki, Finland. In this artistic research, walking is used as a method to connect with the environment. During the walks, small amounts of soil \u2013 sand, stones, and clay \u2013 is gathered and processed further in a studio. Some soil is transformed to slips and used when painting hand-built vases made from the gathered clay. The fired vases are placed temporarily in local rivers. The result is a series of three vase experiments done in a dialogue between human, soil, water, and the forces of the land. The video presents the third vase experiment, where the vase is built from the local clay. The motifs of the painting are the nationally endangered animals: arctic fox, fell owl and glacial salmon. In the River Teno catchment, small juvenile salmon often spend some of their first years of life in tiny tributaries, which they enter from their birth place, the spawning areas in the main stem of the river. One of these nursery streams being Geassemahjohka. The vase is positioned in Geassemahjohka, which is running to the main stem of the River Teno some 70 km upstream from the estuary. Via the experiment we speculate: can act of crafting vase be conceived as act of caring, the vase being thus a symbolic shelter for the salmon?<\/jats:p>\n keywords: diaogue, human, soil, water, forces, land, care<\/jats:p>","DOI":"10.22501\/rc.2872725","type":"posted-content","created":{"date-parts":[[2024,6,12]],"date-time":"2024-06-12T15:18:31Z","timestamp":1718205511000},"source":"Crossref","is-referenced-by-count":0,"title":["Spring at Geassemahjohka"],"prefix":"10.22501","author":[{"family":"Maarit M\u00e4kel\u00e4","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Priska Falin","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:43Z","timestamp":1784282323000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2872725\/2877440"}},"issued":{"date-parts":[[2024,6,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2872725","published":{"date-parts":[[2024,6,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:44Z","timestamp":1784290004492,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Pulse Project (2011 - ) is a performance series exploring the social interfaces between self and other, art and science, contemporary western music composition and traditional Chinese medicine. This performance-study series aims to interrogate the axioms that underpin contemporary medicine and digital technology through the exploration of its corollary \u201cother\u201d - traditional Chinese medicine and music theory - in order to generate a new approach to embodiment and soundscape composition.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.290934","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:18Z","timestamp":1733131578000},"source":"Crossref","is-referenced-by-count":0,"title":["TOUCHING AS LISTENING: PULSE PROJECT"],"prefix":"10.22501","author":[{"family":"Michelle Lewis-King","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:42:46Z","timestamp":1784288566000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/290934\/290935"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.290934","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030316,"version":"3.55.0"},"posted":{"date-parts":[[2024,7,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,7,26]],"date-time":"2024-07-26T00:00:00Z","timestamp":1721952000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u00dakol do Audiovizu\u00e1ln\u00edho praktika<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2949473","type":"posted-content","created":{"date-parts":[[2024,7,26]],"date-time":"2024-07-26T11:26:41Z","timestamp":1721993201000},"source":"Crossref","is-referenced-by-count":0,"title":["\u00dakol"],"prefix":"10.22501","author":[{"family":"Andrew Nov\u00e1k","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:40Z","timestamp":1784282320000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2949473\/2949474"}},"issued":{"date-parts":[[2024,7,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2949473","published":{"date-parts":[[2024,7,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993732,"version":"3.55.0"},"posted":{"date-parts":[[2022,9,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,9,20]],"date-time":"2022-09-20T00:00:00Z","timestamp":1663632000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is a non-linear, web based, poetic, personal, diary-like, essayistic, semi-fictional, experimental and reality-based approach to immerse into the reflection-mode and mind boggling universe of the project Sound of time - Tuning into the Norwegian Landscape and the Post-Industrial Soundscape, that took place in the time frame 2018 - 2022 at Academy of Arts, UiT Arctic University of Norway.Through his field work Rishaug's been tuning in (and out), listening, recording and investigating a wide range of sites and places, their presence, their history, stories, acoustic qualities and psychoacoustic state. This resulted in site specific installations, various collaborations, a solo exhibition, an artist book and a field recording album.With a growing toolkit of listening strategies, methods, techniques and technology Rishaug's been able to pick up, and record a variety of audible qualities of the Norwegian landscape such as vibration, resonance and electromagnetic waves. This not only highlights the physical presence of current sounds, but points towards the contemporary state of global economy and geo-politics and how this transforms the landscape.<\/jats:p>\n keywords: environmental sound, listening, field recording, soundscape, sound art<\/jats:p>","DOI":"10.22501\/rc.1328615","type":"posted-content","created":{"date-parts":[[2022,9,20]],"date-time":"2022-09-20T04:44:56Z","timestamp":1663649096000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound of Time - Tuning into the Norwegian Landscape and the Post-Industrial Soundscape"],"prefix":"10.22501","author":[{"family":"Alexander Rishaug","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:45Z","timestamp":1784282385000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1328615\/1328616\/8\/0"}},"issued":{"date-parts":[[2022,9,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1328615","published":{"date-parts":[[2022,9,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:51Z","timestamp":1784286231277,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","license":[{"start":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T00:00:00Z","timestamp":1594857600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,7,16]]},"abstract":"What is the role of a spoken or sung text in an electroacoustic composition? Does it represent anachronism, assigning the role of communication to the voice and thereby depriving more abstract electroacoustic material of its rhetorical force? Does the disembodied, electroacoustic voice distance the audience from the communicative power of the words that are heard? Although Simon Emmerson argued that the disembodied human voice in acousmatic music can often seem frustrating, this sense of disembodiment might be turned to the composer\u2019s advantage, as the basis of a methodology for creative practice. In the process of developing a methodology to address questions of text, language, voice, and electroacoustic technology, I created two musical compositions. Both works used the untranslated words of an enigmatic Old English poem, \u2018Wulf and Eadwacer\u2019. At first glance, the idea of using a text in an obscure or ancient language that carries little or no semantic meaning for the listeners might raise further questions. Is this a deliberate attempt at obfuscation, hiding the paucity of the composer\u2019s ideas behind a veneer of archaism or even naive exoticism? As my investigation progressed, I began to envisage the process of electroacoustic composition as a type of non-linguistic commentary on a text. Rather than hindering the listener\u2019s understanding of a composition inspired by literature, the electroacoustic voice might help to reveal different interpretations of a text, allowing multiple ideas and identities to be heard.<\/jats:p>\n keywords: composition, contemporary music, electroacoustic music, voice, voice and electronics, composition process, composition as research, Old English, literature, vocality, Music and performing arts 2021<\/jats:p>","DOI":"10.22501\/jar.643189","type":"journal-article","created":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T11:47:03Z","timestamp":1594900023000},"source":"Crossref","is-referenced-by-count":0,"title":["Composition as Commentary: Voice and Poetry in Electroacoustic Music"],"prefix":"10.22501","author":[{"family":"Edmund Hunt","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:07:52Z","timestamp":1784282872000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/643189\/643190"}},"issued":{"date-parts":[[2020,7,16]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jar.643189","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2020,7,16]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:17Z","timestamp":1784369057018,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,1,24]],"date-time":"2019-01-24T00:00:00Z","timestamp":1548288000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2019,1,24]]},"abstract":"This exposition considers how investigative poetic practices could broaden notions of \u2018forensis\u2019 in terms of contemporary art. By developing my concept of \u2018poetic forensics\u2019 with attunement as a method that is \u201cpalpable and sensory, yet imaginary and uncontained\u201d (Stewart 2011) it admits the nonhuman\u2014trees, rocks, streams, animals\u2014suggesting new relations beyond the human as possible witnesses (Williams 2018). This presents an invitation to think differently about articulations of public truth. The question \u2018Who else is witness?' emerges while exploring material intrinsically elusive to testimony on what and who has been disappeared by oppressive geopolitics. Human-rights issues are implicit given the project\u2019s focus on historical erasure and state violence at \u201cthe threshold of detectability\u201d (Weizman 2017). It also attends to my family\u2019s experiences as we faced the \u201cpolitical disappearance\u201d of my father Iv\u00e1n Daza, in 1960s Cold War-era Venezuela. The project grapples with validity through methods and lively approaches that decolonize both knowledge (Tuhiwai Smith 1999) and nature (Demos 2016) presenting posthuman challenges to a privileged human onto-epistemological position (Viveiros de Castro 2015).<\/jats:p>\n keywords: poetics, forensics, artistic research, Attunement, Latin American art, Cold War-era, haptic visuality, haptic spatiality, Nonhuman Partipicipation, testimony, witness, Skinner Releasing<\/jats:p>","DOI":"10.22501\/vis.498714","type":"journal-article","created":{"date-parts":[[2019,12,14]],"date-time":"2019-12-14T12:08:18Z","timestamp":1576325298000},"source":"Crossref","is-referenced-by-count":0,"title":["(Not so) Casual Conversations: Experiments in Attunement as Method in Investigative Art Practice"],"prefix":"10.22501","author":[{"family":"Livia Daza-Paris","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:17:02Z","timestamp":1784366222000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/498714\/498715"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/vis.498714","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2019,1,24]]}},{"indexed":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T09:40:06Z","timestamp":1752486006876,"version":"3.41.2"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0083","type":"journal-article","created":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T09:13:37Z","timestamp":1752484417000},"source":"Crossref","is-referenced-by-count":0,"title":["Saberes vivos en tiempos de motosierra"],"prefix":"10.22501","author":[{"given":"Eduardo","family":"Molinari","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2025]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T09:13:37Z","timestamp":1752484417000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/saberes-vivos-en-tiempos-de-motosierra"}},"issued":{"date-parts":[[2025]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0083","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2025]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:37Z","timestamp":1784289997839,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","license":[{"start":{"date-parts":[[2020,9,8]],"date-time":"2020-09-08T00:00:00Z","timestamp":1599523200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,9,8]]},"abstract":"This essay discusses how YouTube users describe their experience when listening to long durations of recorded geophony, in this case the sounds of winter winds. The analysis shows how individual differences and ambivalence are expressed in commentaries online and how the listening experiences involve affects, memories, associations, and imagination as well as, according to some user comments, having a more physical impact. The discussion draws on both recent and traditional theories, concepts, and terminology in order to study the phenomenon at hand. We argue that a listener-centered approach can be used to generate new knowledge on everyday listening to recorded geophony and find it relevant to search for similarities and contrasts between listening to these geophonic sounds and the somewhat parallel phenomenon of listening to music as background sound.<\/jats:p>\n keywords: Geophony, keynote sounds, Arctic, listener-centered<\/jats:p>","DOI":"10.22501\/jss.979085","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:14Z","timestamp":1733131514000},"source":"Crossref","is-referenced-by-count":0,"title":["Experiencing Recorded Geophony. Listening to Arctic Winter Winds at Home"],"prefix":"10.22501","author":[{"family":"Svein H\u00f8ier and Asbj\u00f8rn Tiller","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:37:15Z","timestamp":1784288235000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/979085\/979086"}},"issued":{"date-parts":[[2020,9,8]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jss.979085","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2020,9,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:39Z","timestamp":1784289999466,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","license":[{"start":{"date-parts":[[2020,9,7]],"date-time":"2020-09-07T00:00:00Z","timestamp":1599436800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,9,7]]},"abstract":"The electronic music of \u00c9liane Radigue provides a striking experience of sound, space, audition, and their interdependence - dramatically demonstrating the link between music perception and listener actions. Radigue\u2019s musical structures are not fully realized until they are taken up by the listener; listening subject and musical object participate in an event that is mutually constitutive of these roles, articulating the space shared by both.Drawing on James J. Gibson\u2019s (1986) ecological approach to perception, as well as Scott Marratto\u2019s (2012) work on Merleau-Ponty\u2019s theory of embodiment and meaning, I show that space is more than simply a transparent medium through which music flows: sonic characteristics of the music combine with bodily comportment to constitute a work wherein sounds come to inhabit space with the same material presence as the listener. By calling upon our capabilities as embodied listeners, Radigue\u2019s music offers us an opportunity to become reattuned to our surroundings, presenting new possibilities for action within the spaces we inhabit.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.979475","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:23Z","timestamp":1733131523000},"source":"Crossref","is-referenced-by-count":0,"title":["The Timbre of Tone, the Texture of Space: An Embodied Approach to the Atmospheric Modulations of \u00c9liane Radigue"],"prefix":"10.22501","author":[{"family":"Mark Saccomano","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:37:23Z","timestamp":1784288243000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/979475\/979476"}},"issued":{"date-parts":[[2020,9,7]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jss.979475","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2020,9,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936941,"version":"3.55.0"},"posted":{"date-parts":[[2025,9,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,9]],"date-time":"2025-09-09T00:00:00Z","timestamp":1757376000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is part of the series The Sonic Atelier \u2013 Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology. This interview features Federico Albanese, who reflects on his formation, his approach to integrating sound design and production into the act of writing, and his perspective on the transformations of today\u2019s recording industry and streaming platforms. His insights shed light on central issues such as hybridity, authorship, and the value of craftsmanship in contemporary music-making.<\/jats:p>\n keywords: Federico Albanese, The Sonic Atelier, Contemporary Composition, contemporary music, hybrid identity, neoclassical, Sound Design, music production, Interviews, interview, Interviewing the Artistic Future, film music, modern classical, piano, piano technique, spatialisation, Streaming platforms, Authorship, Craftsmanship, music, music aesthetics<\/jats:p>","DOI":"10.22501\/rc.3849179","type":"posted-content","created":{"date-parts":[[2025,9,9]],"date-time":"2025-09-09T14:29:12Z","timestamp":1757428152000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sonic Atelier #3 \u2013 A Conversation with Federico Albanese"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-6646-3987","authenticated-orcid":false,"family":"Francesca Guccione","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:57Z","timestamp":1784282277000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3849179\/3849178"}},"issued":{"date-parts":[[2025,9,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3849179","published":{"date-parts":[[2025,9,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:48Z","timestamp":1784283048715,"version":"3.55.0"},"posted":{"date-parts":[[2023,4,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,17]],"date-time":"2023-04-17T00:00:00Z","timestamp":1681689600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Research documentation for Auto de Destrui\u00e7\u00e3o\/ Auto de Destrui\u00e7\u00e3o<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2086002","type":"posted-content","created":{"date-parts":[[2023,4,17]],"date-time":"2023-04-17T04:37:18Z","timestamp":1681706238000},"source":"Crossref","is-referenced-by-count":0,"title":["Deed of Destruction"],"prefix":"10.22501","author":[{"family":"Susana Santa-Marta","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:37Z","timestamp":1784282377000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2086002\/2086003"}},"issued":{"date-parts":[[2023,4,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2086002","published":{"date-parts":[[2023,4,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977029,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T00:00:00Z","timestamp":1771977600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Audio Paper ist ein Format, das \u2013 genauso wie ein Essay oder ein akademischer Textbeitrag \u2013 ein bestimmtes (Forschungs-)Thema behandelt, dieses allerdings in Form eines Audios pr\u00e4sentiert. Durch den spezifischen Mediengebrauch r\u00fcckt es die \u00c4sthetik und die Materialit\u00e4t des Sonischen ins Bewusstsein und er\u00f6ffnet damit neue Sichtweisen auf die zu erforschenden Gegenst\u00e4nde und Ph\u00e4nomene. Beim Audio Paper handelt es sich um ein performatives Format, das die affektive Dimension von Sounds, und von Sprache im Besonderen, aufgreift und sich somit an der Grenze zwischen wissenschaftlicher Argumentation und k\u00fcnstlerischer Gestaltung bewegt. Audio Paper stellen ein auf die auditive Wahrnehmung ausgerichtetes Lehr-, Lern- und Pr\u00fcfungsformat dar.Der Leitfaden skizziert exemplarisch die Konzeption und Durchf\u00fchrung eines Maker-Tags (bzw. eines praxisorientierten Blockseminars oder eines Workshops) zum Thema \u201eAudio Paper\u201c im Umfang von ca. sechs Semesterwochenstunden (SWS). Die (interdisziplin\u00e4ren) Maker-Tage gehen dem \u201apractice turn\u2018 auf den Grund und regen Studierende zum Nachdenken \u00fcber die Verbindung zwischen Forschung, Theorie und Praxis an. Sie bieten den Studierenden die Gelegenheit, durchs 'Machen', induktiv zu theoretischen (Er-)Kenntnissen zu gelangen, die Relevanz sowohl \u201atheoretischer\u2018 als auch \u201apraktischer\u2018 Ans\u00e4tze wie Ihre Wechselwirkung zu durchdenken und zu praktizieren. Im Rahmen der Maker-Tage geht es unter anderem um die Reflexion ausgew\u00e4hlter Forschungspraktiken als Medien und kulturelle Ph\u00e4nomene und nicht zuletzt um die Erprobung alternativer Lehr-, Lern- und Pr\u00fcfungsformate.<\/jats:p>\n keywords: Audio Paper, Maker Culture, Praxistheorie, Acoustic Turn, Education, Teaching, Teacher Education, Practice Turn, Research<\/jats:p>","DOI":"10.22501\/rc.4156144","type":"posted-content","created":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T16:42:30Z","timestamp":1772037750000},"source":"Crossref","is-referenced-by-count":0,"title":["Maker-Tag \"Wie geht Forschen mit ... Audio Paper?\" Leitfaden zur Konzeption und Planung"],"prefix":"10.22501","author":[{"family":"Adrianna Hlukhovych","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:08Z","timestamp":1784282228000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4156144\/4156145"}},"issued":{"date-parts":[[2026,2,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4156144","published":{"date-parts":[[2026,2,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:03Z","timestamp":1784369043634,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2020,3,2]],"date-time":"2020-03-02T00:00:00Z","timestamp":1583107200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,3,2]]},"abstract":"Between 1956 and 1968, the photographer Gholamreza Amirbegi captured a wealth of images from around his neighborhood in southwestern Tehran. At the time the city had just seen a major influx of working-class immigrants from the country\u2019s smaller municipalities. By re-narrating these materials, which evoke not only particular, local memories, but also distinct subaltern histories, this overlooked archive tells stories of social change from below in Iran, as seen in Gholamreza\u2019s subjects: global cinematic images, and unconscious colonial memory. By applying a comparative historical-material analysis, Khosravi Noori\u2019s aim here is to develop a practice based, multi-sited archaeology of contemporary history. This approach begins with an excavation of the historical materials themselves, in order to both discover lost identities in these images, and to displace them from sedimented historical positions. In doing this, he asks the question: What happens to the past from the vantage point of the future?<\/jats:p>\n keywords: Contemporary Archeology, Hyper-Politics, Narrative Strategy, Subaltern History, Historical Materialism, Global South, Microhistory, Cold War, Immigration, Global Cinema, Konstfack portal - research, Konstfack portal - peer reviewed<\/jats:p>","DOI":"10.22501\/vis.780138","type":"journal-article","created":{"date-parts":[[2020,3,2]],"date-time":"2020-03-02T08:13:46Z","timestamp":1583136826000},"source":"Crossref","is-referenced-by-count":0,"title":["The Life of an Itinerant through a Pinhole"],"prefix":"10.22501","author":[{"family":"Behzad Khosravi Noori","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:15:04Z","timestamp":1784366104000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/780138\/780139"}},"issued":{"date-parts":[[2020,3,2]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/vis.780138","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2020,3,2]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:59Z","timestamp":1784369099610,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T00:00:00Z","timestamp":1749772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,6,13]]},"abstract":"This exposition explores the concept of speculative utopias within artistic research, offering glimpses into potential futures at the intersection of artistic imagination and futures thinking. Developed as textual concepts, these speculative utopias serve as vehicles for envisioning inclusive and sustainable futures, addressing complex socio-economic, cultural, and environmental challenges. The study employs a multidisciplinary approach by integrating aerial photography of Iceland\u2019s landscapes with futures thinking methodologies and artistic research practices. These photographs function not merely as documentation but as speculative utopias that prompt critical reflection on climate adaptation, socio-political transformation, and public engagement. A unique aspect of the research is the use of artificial intelligence (ChatGPT), which supported iterative narrative development and reflexive inquiry. Through this exploration, the research offers alternative visions for resilient futures catalysing transformative dialogue and deepening reflection on the politics of the present while imagining possibilities for the world to come.<\/jats:p>\n keywords: speculative, utopia, futures thinking, artistic research, artificial intelligence<\/jats:p>","DOI":"10.22501\/hub.2822453","type":"journal-article","created":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T06:40:04Z","timestamp":1749796804000},"source":"Crossref","is-referenced-by-count":1,"title":["Glimpsing Speculative Utopias: Envisioning Futures"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-8146-7216","authenticated-orcid":false,"family":"Amna Qureshi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:22:48Z","timestamp":1784366568000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2822453\/2822454"}},"issued":{"date-parts":[[2025,6,13]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/hub.2822453","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2025,6,13]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:26Z","timestamp":1784368946541,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2020,12,27]],"date-time":"2020-12-27T00:00:00Z","timestamp":1609027200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2020,12,27]]},"abstract":"Centred around a video essay, this exposition aims to develop an understanding of subjectivity within a collaborative chamber music context. Drawing on the theory of situated cognition (see for example Brown, Collins, & Duguid, 1989) and the concept of subjective \u2018voice\u2019 in performance (Cumming, 2000), the presentation develops the model proposed by Gorton and \u00d6stersj\u00f6 (2016 and 2019) in which a \u2018discursive voice\u2019 may emerge from the process of composer\u2013performer collaboration.These ideas are explored through a study of the early rehearsals of David Gorton's composition \u2018Cerro Rico\u2019, for soprano violin and charango. This is a very slow piece, and while the two instrumentalists both operate at this extreme of the tempo spectrum, they do so guided by different conceptions, one metronomic and the other taxonomic, of how this should be notated; the charango player works with a very slow metronome mark of quaver = 15 while the violinist plays mostly in large note-values: breves, longs, and dotted longs. From these opposed positions, the performers find a shared understanding of time. Through an appraisal of video footage taken from the first rehearsals of \u2018Cerro Rico\u2019, it is argued that the malleable character of coordination, shaping, and timing that is afforded in performance by the extreme slowness of the piece creates the conditions for the emergence of a discursive voice, compounded from the contributions of the two performers and the composer. The \u2018collaboration\u2019 between composer and performers can be conceived as being situated within this discursive voice, manifested as a sense of shared ownership of the materials.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.1075015","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T08:14:35Z","timestamp":1684743275000},"source":"Crossref","is-referenced-by-count":0,"title":["Cerro Rico: the co-production of a discursive voice in chamber music"],"prefix":"10.22501","author":[{"family":"Mieko Kanno","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"David Gorton","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Stefan \u00d6stersj\u00f6","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:02:48Z","timestamp":1784365368000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1075015\/1075016"}},"issued":{"date-parts":[[2020,12,27]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1075015","published":{"date-parts":[[2020,12,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:19Z","timestamp":1784283019579,"version":"3.55.0"},"posted":{"date-parts":[[2024,11,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,11,12]],"date-time":"2024-11-12T00:00:00Z","timestamp":1731369600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This Book of Scores presents the standard music notation for the compositions featured in the album 'Portfolio'. Each piece is crafted for solo bass guitar, pushing the instrument's expressive boundaries and revealing its rich polyphonic potential. Through inventive arrangements, these compositions invite bassists to explore new dimensions of solo performance.<\/jats:p>\n keywords: Artistic Research; Performance; Composition; Harmonic Approach to the Bass Guitar.<\/jats:p>","DOI":"10.22501\/rc.3123228","type":"posted-content","created":{"date-parts":[[2024,11,12]],"date-time":"2024-11-12T09:17:34Z","timestamp":1731403054000},"source":"Crossref","is-referenced-by-count":0,"title":["Book of Scores"],"prefix":"10.22501","author":[{"family":"Fausto Lessa","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:32Z","timestamp":1784282312000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3123228\/3123229"}},"issued":{"date-parts":[[2024,11,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3123228","published":{"date-parts":[[2024,11,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:21Z","timestamp":1784286501583,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2015,5,28]],"date-time":"2015-05-28T00:00:00Z","timestamp":1432771200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2015,5,28]]},"abstract":"Name: Raissa FahlmanMain Subject: Classical ClarinetResearch Coach: Anna ScottTitle of Research: A More Sincere Brahms: An Exploration of Widening Expressive Possibilities in the Opus 120 Clarinet Sonatas. Research Question: What might documentary and sounding evidence of the performing styles of Johannes Brahms and his contemporaries reveal to modern performers about amplifying expression via increased tempo flexibility in Brahms\u2019s Opus 120 Clarinet Sonatas. Given this evidence, what ideological and practical factors might inhibit modern performers from incorporating this evidence in their own interpretations today? Summary of Results: \tThe exploration of documentary and sounding evidence relating to the performance style of Johannes Brahms and his contemporaries reveals much to modern performers about the difference in performance styles between the nineteenth century and our own. The documentary and sounding evidence examined in this research project demonstrates that Brahms and his contemporaries played within a much wider spectrum of expressive possibilities, revealing more\u00a0accelerandi, ritardandi, and independence between voices, than our controlled modern interpretation of Brahms would allow. Ideological and practical factors however discourage modern performers from implementing this evidence into their own performances: pressures of fidelity, authenticity, text-centricity, and the diminished role of performers as compared to composers have all contributed to the constant scrutiny of performers'\u00a0interpretative choices, and have increased the risks associated with performances viewed as expressively licentious.\u00a0\u00a0Practical application of this research via documented performance experiments however shows that modern performers can, when aware of the above historical evidence as well as the ideological pressures they face, implement stylistic tools from the past into modern interpretations of Brahms's works. For my own performances of the Brahms Opus 120 Sonatas, this research project has informed my interpretation, resulting in recordings of increased fluidity of phrasing, a more expansive range of expressive freedom, and an overall stylistic shift towards greater artistic freedom and a natural interpretive flow that is less hindered by societal pressures. My recordings also demonstrate that this research is not only relevant within the Opus 120 Sonatas, but transferrable across all of Brahms\u2019s music. The goal of this research is not only to expand expressivity in my own performances, but to offer this evidence to other performers who may struggle with the question of expressivity when performing Brahms as well.\u00a0Biography: Raissa Fahlman is a devoted clarinet soloist, chamber and orchestral musician. She has participated in several world premieres as a member of chamber ensembles, large ensembles and as a featured soloist. Recent musical commitments have included two Long Term Creative Music Residencies at the Banff Centre in Alberta, Canada, where she was an Artist in Residence. Raissa is an alumni of the University of Calgary where she graduated with distinction with a Bachelor of Music degree, and was awarded for excellence in her musical study by twice receiving the XL 103.1 Newcap Award in Music, as well as numerous scholarships for academic excellence. She is currently a masters student at the Koninklijk Conservatorium in The Hague.\u00a0<\/jats:p>\n keywords: Johannes Brahms, expression, interpretation, accelerandi, ritardandi, voices<\/jats:p>","DOI":"10.22501\/koncon.81312","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:49:01Z","timestamp":1725907741000},"source":"Crossref","is-referenced-by-count":0,"title":["A More Sincere Brahms: An Exploration of Widening Expressive Possibilities in the Opus 120 Clarinet Sonatas."],"prefix":"10.22501","author":[{"family":"Raissa Fahlman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:56:27Z","timestamp":1784285787000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/81312\/81313"}},"issued":{"date-parts":[[2015,5,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.81312","published":{"date-parts":[[2015,5,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:48Z","timestamp":1784286288202,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2014,9,22]],"date-time":"2014-09-22T00:00:00Z","timestamp":1411344000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,9,22]]},"abstract":"This work examines the material entanglements of humans and touch screens. The starting points are Donna Haraway's 'Cyborg Manifesto', read now over twenty years after it was first published, and the figure of a black mirror. The black mirror does not pretend to reflect back only that to which it has been turned. It also shows itself. This exposition is a fragmented essay in which the NSA, gendered technologies, manufacturing plants, selfies, new gestures, poor digital images, and self-performing human bodies attach to and collide with one another. I refer to academic as well as popular sources, but I also use my personal experiences and everyday observations as a material. One trace of the entanglement of humans and devices is greasy fingerprints on touch screens, hence the name of the exposition. But the entanglements of course go far beyond this \u2013 for instance to the manufacture of the machine and 'responsibility to the entanglements of which we are part' (Karen Barad).[1] The exposition is a part of my artistic research on the interplay of human and non-human agencies and the frictions between them. I began my research by examining the intertwinement of clothes and the human body and later also considered other aspects of technology\u2013human relations. I conduct my research mainly through writing. Writing is artistic research for me \u2013 in contrast to writing about artistic research, for instance. While more poetic or fragmented research writing is not without problems \u2013 it could be argued to be less falsifiable for instance \u2013 it carries the potential for more frictions within a text, or changing points of view, or different agential collaborations and enactments; all issues that may be in the core of research and that sometimes need to be brought forward in ways departing from more traditional styles of academic writing.1. Rick Dolphijn and Iris van der Tuin, \u2018Interview with Karen Barad\u2019, in New Materialism: Interviews and Cartographies (Ann Arbor, MI: Open Humanities Press, 2012), pp. 48\u201370 (p.52).<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.61876","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T14:25:00Z","timestamp":1492439100000},"source":"Crossref","is-referenced-by-count":0,"title":["Stained Black Mirror"],"prefix":"10.22501","author":[{"family":"Vappu Jalonen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:16:02Z","timestamp":1784283362000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/61876\/61877"}},"issued":{"date-parts":[[2014,9,22]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/jar.61876","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2014,9,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:13Z","timestamp":1784289793159,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","license":[{"start":{"date-parts":[[2021,11,30]],"date-time":"2021-11-30T00:00:00Z","timestamp":1638230400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,11,30]]},"abstract":"Somatiikka kehitt\u00e4\u00e4 kyky\u00e4 tunnistaa totunnaisia liikkumisen tapoja, ja mahdollisuutta murtautua kohti uusia liikemuotoja. Aistiva tutkimus mahdollistaa uudenlaisia yhteyksi\u00e4 kehon k\u00e4ytt\u00f6\u00f6n sosiaalisen tilan tutkimuksessa.Kutsun ruumiinsosiologian teoriasta ammennettuja harjoituksia sosiaaliseksi somatiikaksi seuraten tutkija Jill Greeni\u00e4 (2015). Sosiaalisen somatiikan keskeinen kohde on yhteiskunnan s\u00e4\u00e4t\u00e4m\u00e4t ruumiilliset sijoittumiset tilaan ja somaattisia harjoitusmuodot, jotka kasvattavat kehon sosiaaliseen tiedostamiseen. Kehon pienist\u00e4 eleist\u00e4 ja kokemuksesta nouseva muutos voidaan n\u00e4hd\u00e4 sosiaalisen tai poliittisen muutoksen mahdollistajana (Manning 2016; Kortelainen 2020). Tarkastelen artikkelissani t\u00e4t\u00e4 kehotietoisuudesta nousevaa, ja jokaisen meid\u00e4n kehoon kytkeytyv\u00e4\u00e4 mahdollisuutta sosiaaliselle muutokselle. Sosiaalisen muutoksen kohteena kulttuurisesti luodut kehon kuvat vaikuttavat merkitt\u00e4v\u00e4sti ihmisten jokap\u00e4iv\u00e4iseen el\u00e4m\u00e4\u00e4n yhteiskunnassa. Sara Ahmedin queer fenomenologian tapaan tarkastelen, kuinka kehon tilallisuus ja kehon suhde objekteihin ja esineisiin vaikuttaa korporeaalisella tasolla siihen, mit\u00e4 keholta odotetaan.<\/jats:p>\n keywords: Suullisuus, suu, somatiikka, sosiaalinen somatiikka, ruumiin kuva<\/jats:p>","DOI":"10.22501\/ruu.1172854","type":"journal-article","created":{"date-parts":[[2021,11,29]],"date-time":"2021-11-29T07:44:27Z","timestamp":1638171867000},"source":"Crossref","is-referenced-by-count":0,"title":["SOSIAALISEN SOMATIIKAN UTOPIA: Ruumiin orientaatio tilassa"],"prefix":"10.22501","author":[{"family":"Ilmari K.","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:13Z","timestamp":1784286433000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1172854\/1172855"}},"issued":{"date-parts":[[2021,11,30]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1172854","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2021,11,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:54Z","timestamp":1784282994699,"version":"3.55.0"},"posted":{"date-parts":[[2022,12,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,12,21]],"date-time":"2022-12-21T00:00:00Z","timestamp":1671580800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Love of God - Group Exhibition Curated by Jeffrey Cobbold September 14 - October 19, 2019Artworks Trenton, Trenton, New Jersey (U.S.A)2019 Curatorial Statement:\u201c\u2026I will find you. I will always find you\u2026\u2026A loving heart is the truest wisdom\u2026\u2026To believe and be satisfied with just the way things are\u2026\u2026No one has ever seen God\u2026\u2026Jesus\u2026\u2026Love is a circle\u2026\u2026And what comes around goes around\u2026\u201dThe words above come from Love of God (L.O.G) Audio Quotation Database, a DIY online database and digital humanities project I started in 2015 when I was working as an intern within the Love of God Retreat Program in Lawrenceville, NJ. In order to create the database I asked the program\u2019s high school student participants to find quotes about love and God that would help them reflect on the meaning of these words within their retreat program. These quotes are now the heart and inspiration for Love of God \u2013 Group Exhibition, which presents works from a selection of artists exploring issues of love and God revealed through artistic practice.The artists featured in this volume are: Jessica Browne-White (sculpture)Jeffrey Cobbold (sound, video, text) Devonte Roach (film)Marina de Bernado Sanchis (drawing)Together they create multiple entry points for one to consider the character of love, God and the intersections of both in our ever changing world.Love of God \u2013 Group Exhibition takes on the spirit of the Love of God Retreat Program in Lawrenceville, NJ with its necessity for inclusive understandings about love and God. While Jesus was a central topic of discussion within the retreat program, there was no mandated opinion one was expected to have about him. Rather, the unifying aspect of this program was an affinity for music and the arts within the expression of community. Their community was intersectional, dealing with the differences of varied socio-economic statuses, sexual identities and divergent relationships with the organized Christian church amongst so many other forms of diversity.The retreat program no longer exists as it did in 2015 due the disbursement of its high school participants and changes in adult leadership. The online database is now a relic of the digital humanities project that occurred at that time. Yet, this exhibition is an initial step toward sharing a glimpse of the spirit of this retreat program with others. I sincerely hope that the spirit of this exhibition will connect with you as you search for love and God in your personal life and within the communities you serve everyday.Love of God Community Conversation (Luke 1:5-45)October 12, 2019Artworks Trenton, Trenton, New Jersey (U.S.A)Featured presentation:\"Love, God, and Community\" by Simone Oliver2019 Community Conversation Statement:This community conversation seeks to provide a space for theological and artistic reflection within the Love of God \u2013 Group Exhibition. A team of presenters will offer their individual reflections on love, God and community through engagement with Luke 1:5-45. Presenters will also consider the works of contemporary art and case study materials within the Love of God \u2013 Group Exhibition to aide their presentations. A time for discussion will be had between presenters and the audience for better articulation and understanding of divergent pathways toward love, God and community that can be useful for work in Christian ministry and contemporary art & culture.<\/jats:p>\n keywords: love, God, exhibition, Sculpture, sound, film, drawing, curation, text, VIDEO, Virtual, gallery, retrospective<\/jats:p>","DOI":"10.22501\/rc.1706313","type":"posted-content","created":{"date-parts":[[2022,12,21]],"date-time":"2022-12-21T16:46:42Z","timestamp":1671641202000},"source":"Crossref","is-referenced-by-count":0,"title":["Love of God - Group Exhibition: A Retrospective Virtual Gallery"],"prefix":"10.22501","author":[{"family":"Jeffrey Cobbold","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:41Z","timestamp":1784282381000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1706313\/1706314"}},"issued":{"date-parts":[[2022,12,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1706313","published":{"date-parts":[[2022,12,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995530,"version":"3.55.0"},"posted":{"date-parts":[[2021,3,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,3,22]],"date-time":"2021-03-22T00:00:00Z","timestamp":1616371200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"'That's la Morte: Italian Cult Cinema and the Years of Lead' is an 80 minute documentary that considers how cult and horror film cycles came to reflect wider anxieties within 1970s Italy. The documentary comprises of archival and film data from the decade alongside interview interventions from leading filmmakers, producers, performers, screenwriters musicians and historians.<\/jats:p>\n keywords: Cinema and Society, Terrorism in cinema, Italian cult film, 1970s cinema, gender in Italian cinema<\/jats:p>","DOI":"10.22501\/rc.937512","type":"posted-content","created":{"date-parts":[[2021,3,22]],"date-time":"2021-03-22T09:55:35Z","timestamp":1616406935000},"source":"Crossref","is-referenced-by-count":0,"title":["That's La Morte: Italian Cult Cinema and the Years of Lead"],"prefix":"10.22501","author":[{"family":"Xavier Mendik","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:17Z","timestamp":1784282417000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/937512\/937513"}},"issued":{"date-parts":[[2021,3,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.937512","published":{"date-parts":[[2021,3,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:46Z","timestamp":1784369086334,"version":"3.55.0"},"posted":{"date-parts":[[2026,5,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,25]],"date-time":"2026-05-25T00:00:00Z","timestamp":1779667200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Esta \u00e9 uma publica\u00e7\u00e3o digital resultante das partilhas, discuss\u00f5es e trabalhos coletivos promovidos pelo 9\u00ba ENCONTRO INTERNACIONAL sobre EDUCA\u00c7\u00c3O ART\u00cdSTICA (9ei_ea) realizado na cidade do Porto, Portugal, de 19 a 23 de junho de 2025, numa parceria entre a Escola Superior de M\u00fasica e Artes do Espet\u00e1culo do Polit\u00e9cnico do Porto (ESMAE), Faculdade de Belas Artes da Universidade do Porto (FBAUP) e Faculdade de Psicologia e de Ci\u00eancias da Educa\u00e7\u00e3o da Universidade do Porto (FPCEUP).<\/jats:p>\n keywords: educa\u00e7\u00e3o art\u00edstica, redes de transforma\u00e7\u00e3o, resist\u00eancia<\/jats:p>","DOI":"10.22501\/i2ads.4150335","type":"posted-content","created":{"date-parts":[[2026,5,18]],"date-time":"2026-05-18T13:12:32Z","timestamp":1779109952000},"source":"Crossref","is-referenced-by-count":0,"title":["Ecos do 9ei_ea: Redes de resist\u00eancia e transforma\u00e7\u00e3o"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-8566-4399","authenticated-orcid":false,"family":"Margarida Dias","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Bruno Pereira","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"M\u00e1rio Azevedo","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jos\u00e9 Paiva","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Fabr\u00edcio Fava","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:34Z","timestamp":1784366434000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4150335\/4238083"}},"issued":{"date-parts":[[2026,5,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.4150335","published":{"date-parts":[[2026,5,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967783,"version":"3.55.0"},"posted":{"date-parts":[[2025,9,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T00:00:00Z","timestamp":1757980800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"On drawing as a practice of the in-between in the sense of the Japanese concept ma. Using the Sketch&Draw method, it is shown that drawing is neither mere representation nor pure invention, but a dialogical process between perception, memory, hand, and world. Neuroscientific models such as Predictive Coding demonstrate that each line is a proposal by the brain of how the world might be, which is then fed back and refined in the process of drawing. The hand appears not as a mere tool, but as a thinking organ, tightly coupled with perception and memory.Referring to Mih\u00e1ly Cs\u00edkszentmih\u00e1lyi\u2019s theory of Flow, it is shown that the immediacy of hand drawing \u2013 in contrast to digital procedures \u2013 is decisive for entering a state in which perception and action seamlessly merge. Philosophical perspectives from Maurice Merleau-Ponty and Tim Ingold highlight that the line is not merely a boundary, but a resonance space in which the invisible can become manifest.Drawing thus proves to be a process of knowledge, one that unfolds slowly, comparable to a species-rich meadow: unplannable, yet not random. In the in-between of world and subject, line and gaze, a form of knowledge emerges that can be understood as Intelligens \u2013 a creative third way beyond control and helplessness.<\/jats:p>\n keywords: Drawing as cognition, Embodied perception, Creative process, Resonance space, Serendipity in art, Ecology of knowledge, Drawing as cognition, Embodied perception, creative process, Resonance space, Serendipity in art, Ecology of knowledge<\/jats:p>","DOI":"10.22501\/rc.3869376","type":"posted-content","created":{"date-parts":[[2025,9,16]],"date-time":"2025-09-16T14:01:46Z","timestamp":1758031306000},"source":"Crossref","is-referenced-by-count":0,"title":["Drawing in the In-Between \u2013 ma, Intelligens and the Sketch&amp;Draw Method"],"prefix":"10.22501","author":[{"family":"Tanja K. Hess","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:55Z","timestamp":1784282275000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3869376\/3869375"}},"issued":{"date-parts":[[2025,9,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3869376","published":{"date-parts":[[2025,9,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:49Z","timestamp":1784369029355,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","license":[{"start":{"date-parts":[[2022,3,14]],"date-time":"2022-03-14T00:00:00Z","timestamp":1647216000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,3,14]]},"abstract":"On 30 July 1984, 11 mercury miners locked down in the mines of Almad\u00e9n (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 metres deep inside the oldest and most productive mercury mines in world history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almad\u00e9n in 2019 to make a documentary film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days in homage to the older miners and to recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almad\u00e9n, which rose from a mine shaft more than 2000 years ago, as \u2018something else besides\u2019 a mining town.This exposition explores the potential of documentary film fieldwork to take on a different relationship to normal life that the same or similar events would have as \u2018untransformed reality\u2019 \u2013 a strike versus the reenactment of a strike \u2013 and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the \u2018potentially\u2019 real, the \u2018possible\u2019, and the \u2018what if\u2019 as modes of documentation. What happens when the forms of \u2018documentary\u2019 and \u2018reenactment\u2019 are exceeded, and act upon the world rather than only represent it?<\/jats:p>\n keywords: Reenactment, beyond representation, post-industrial, documentary film, play, politics<\/jats:p>","DOI":"10.22501\/vis.1504797","type":"journal-article","created":{"date-parts":[[2022,3,14]],"date-time":"2022-03-14T08:04:31Z","timestamp":1647245071000},"source":"Crossref","is-referenced-by-count":0,"title":["We Would Strike!: Beyond Representation in a Post-Industrial Town."],"prefix":"10.22501","author":[{"family":"Arturo Delgado Pereira","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:12:26Z","timestamp":1784365946000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1504797\/1504798"}},"issued":{"date-parts":[[2022,3,14]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/vis.1504797","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2022,3,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974053,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,14]],"date-time":"2025-10-14T00:00:00Z","timestamp":1760400000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is part of the series The Sonic Atelier \u2013 Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology.This interview features Bryan Senti, American composer, violinist, and producer, whose work bridges classical tradition, Latin American heritage, and cinematic experimentation. His music, ranging from solo albums such as Manu to film scores and collaborative projects, combines impressionistic harmony, acoustic warmth, and electronic texture, shaping a distinct post-classical voice that is both intimate and expansive.In the conversation, Senti reflects on the integration of composition and production within the digital environment, the evolving relationship between notation and sound, and the ways in which tools like the DAW and immersive formats such as Dolby Atmos redefine musical form and spatial perception. He also discusses authorship in film music, the ethics of technology, and the need to preserve a human, performative presence in an increasingly algorithmic landscape.Senti\u2019s reflections reveal a vision of music as a living craft, an art of listening, shaping, and reimagining sound, where composition becomes a dialogue between emotion, material, and space.<\/jats:p>\n keywords: Bryan Senti, The Sonic Atelier, Contemporary Composition, Hybrid composer, Post-classical music, film music, J\u00f3hann J\u00f3hannsson, Production as composition, DAW (Digital Audio Workstation), DAW, Dolby Atmos, Sound Design, sound, Notation and performance, Technology and creativity, Expanded score, Humanism in music, contemporary aesthetics, creative process, music<\/jats:p>","DOI":"10.22501\/rc.3932685","type":"posted-content","created":{"date-parts":[[2025,10,14]],"date-time":"2025-10-14T09:53:56Z","timestamp":1760435636000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sonic Atelier #6 \u2013 A Conversation with Bryan Senti"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-6646-3987","authenticated-orcid":false,"family":"Francesca Guccione","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:42Z","timestamp":1784282262000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3932685\/3932684"}},"issued":{"date-parts":[[2025,10,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3932685","published":{"date-parts":[[2025,10,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001221,"version":"3.55.0"},"posted":{"date-parts":[[2025,4,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,11]],"date-time":"2025-04-11T00:00:00Z","timestamp":1744329600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Il progetto si sviluppa intorno alla fascinazione delle spoglie e alla loro natura in quanto materiale organico non pi\u00f9 vivo. L\u2019ispirazione iniziale parte da un testo di Sergio Blanco, Memento Mori.Da li inizia una ricerca sul significato personale e intimo della morte, argomento ad oggi banalizzato dalle continue interpretazioni piatte e falsificate di un evento fin troppo naturale. La mia ricerca si basa sull\u2019analisi del cambiamento di significato determinato dal contesto.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3314222","type":"posted-content","created":{"date-parts":[[2025,4,11]],"date-time":"2025-04-11T07:06:09Z","timestamp":1744355169000},"source":"Crossref","is-referenced-by-count":0,"title":["Il peso morto"],"prefix":"10.22501","author":[{"family":"Gauri Abbattista","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:12Z","timestamp":1784282292000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3314222\/3314223"}},"issued":{"date-parts":[[2025,4,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3314222","published":{"date-parts":[[2025,4,11]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023019,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,30]],"date-time":"2020-12-30T00:00:00Z","timestamp":1609286400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u2018Otherlands\u2019 is an interdisciplinary and collaborative project traversing visual art, linguistics, psychoanalysis and philosophy. It interrogates Julia Kristeva\u2019s concepts of abjection and the semiotic as pre-linguistic markers and their potential to articulate \u2018otherness\u2019 in visual art. Whilst Kristeva\u2019s thinking is revolutionary in conceptualising dimensions of experience \u2018beyond\u2019 language and representation as vital to the signifying process, its application in aesthetic practice is limited. Those art practices that have engaged with abjection and the semiotic rely on representational strategies and thus undermine their very definition.Otherlands demonstrates that it is only where representational structures are disrupted towards the place where meaning collapses that abjection can function as \u2018abjection\u2019 in art practice, in turn articulating modalities of \u2018othering\u2019 as part of an alternative signifying process. Understood via a new theory of \u2018intermateriality\u2019 developed by the researcher, Otherlands offers for the first time vital new ways of understanding meaning-making in art practice that shifts from representational and visual economies of signification to the material, performative, affective and intersubjective dimensions of art.Informed by an eight-year corpus of practice-led research, Otherlands was developed collaboratively through 12 months of rigorously testing ideas. This included textual analysis, an on-site curatorial residency (University of Memphis), field visits to examine \u2018othering\u2019 in selected cultural sites, interviews with key practitioners and scholars, and feedback gathered at the Otherlands exhibition and live event at the Kristeva Circle annual conference, Memphis (prestigious interdisciplinary platform for world-leading Kristeva scholars). The work was blind peer-reviewed by the Kristeva Circle directors and Art Museum University of Memphis curatorial committee.The research includes a two-person exhibition with award-winning artist Georgia MacGuire, curatorial essay by Kristeva expert Professor Estelle Barrett and major live performative event. The research is simultaneously all these outputs, understood via the interrelations between its different parts as an \u2018other\u2019 form of signification.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1000395","type":"posted-content","created":{"date-parts":[[2020,12,30]],"date-time":"2020-12-30T03:50:14Z","timestamp":1609300214000},"source":"Crossref","is-referenced-by-count":0,"title":["Otherlands"],"prefix":"10.22501","author":[{"family":"Jacqueline Taylor","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:21Z","timestamp":1784282421000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1000395\/1000396"}},"issued":{"date-parts":[[2020,12,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1000395","published":{"date-parts":[[2020,12,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:07Z","timestamp":1784286247541,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T00:00:00Z","timestamp":1512864000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,12,10]]},"abstract":"\"Play\" was a project developed by Matilde Meireles and Diogo Alvim with the participation of experimental filmmaker Richard O'Sullivan. This multilayered performance was specially conceived for the annex of the Physical Education Centre at Queen's University Belfast, a building composed of several squash courts and an audience area. The project encompassed live music (a brass ensemble), electronics, video projections, and a live squash game, all affecting the perception of the site. This building became the main character of an immersive acoustic experience, where a game of squash was the starting point to explore ideas about architecture and place through sound. The squash courts were subject to acoustic processes extrapolated from two of Alvin Lucier's most important works\u2014\"Vespers\" and \"I am sitting in room\". Also the floor markings were manipulated, as a reference to Edward Krasinski's obsession with a never-ending line. These extended beyond the performance space to reveal unexpected connections.<\/jats:p>\n keywords: Sound, Architecture, Place<\/jats:p>","DOI":"10.22501\/jar.309117","type":"journal-article","created":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T17:27:36Z","timestamp":1512926856000},"source":"Crossref","is-referenced-by-count":0,"title":["Trigger Place - A Game of Sound and Architecture"],"prefix":"10.22501","author":[{"family":"Matilde Meireles","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Diogo Alvim","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:08Z","timestamp":1784283068000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/309117\/309118"}},"issued":{"date-parts":[[2017,12,10]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jar.309117","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2017,12,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:02:56Z","timestamp":1784286176236,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T00:00:00Z","timestamp":1666915200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,10,28]]},"abstract":"This exposition puts forward \u2018lingering longer\u2019 and \u2018listening away\u2019 as potential means to remain with non-semantic possibilities, resisting the tendency to know immediately or to classify \u2014 to get lost, albeit momentarily in a more messy moment of being. At stake in this investigation is the recognition that our experience of the world, characterized through a depth of engagement, is not limited to how relations operate on the surface. The direction or orientation of our attention, the intensity with which it is applied, and how it weighs on and shapes our experience implies choice and agency. Experiment I: Aural + Orientation = Aurientation emulates the experience of a fictional gallery-goer who encounters the sound installation, This is for You (Don\u2019t Treat it like a Telephone) (2012). This piece was developed at the advanced centre for performance and scenography studies (a.pass) in Brussels and aims to consider how sound and the voice shape our orientation, when mediated through objects. Experiment in Aural Attention II: Vibrant Practice details the process undergone for creating Listening to Water (2013), a site-specific investigation into ancient well sites located in Powys and Ceredigion, two counties in Mid West Wales. The work, made in collaboration with Jane Lloyd-Francis and Naomi Heath, considers how a turn towards site, via a process of tuning in to the Welsh landscape, can bring attention to overlooked aspects of our environment.<\/jats:p>\n keywords: Listening, artistic research, attention, creative practice, Creative Critical Writing, Aural Attention, Installation, Vibrant Practice, Practice-as-research<\/jats:p>","DOI":"10.22501\/jar.1248288","type":"journal-article","created":{"date-parts":[[2022,10,28]],"date-time":"2022-10-28T05:49:42Z","timestamp":1666936182000},"source":"Crossref","is-referenced-by-count":1,"title":["Experiments in Aural Attention: Listening Away &amp; Lingering Longer"],"prefix":"10.22501","author":[{"family":"Rebecca Collins","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:03:33Z","timestamp":1784282613000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1248288\/1735014"}},"issued":{"date-parts":[[2022,10,28]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jar.1248288","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2022,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:02Z","timestamp":1784290022787,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","license":[{"start":{"date-parts":[[2018,10,10]],"date-time":"2018-10-10T00:00:00Z","timestamp":1539129600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,10,10]]},"abstract":"In this study, we examined the design of informative sound to assist timing in a simple, multimodal, game task. The game was initially designed as a series of eight-second, visual decision-making tasks. Players could respond quickly, with more risk, or wait longer for more information, thus reducing their risk of being incorrect. The player was scored by counting the number of correct attempts they completed in a five-minute interval. Waiting longer made the task easier but reduced the number of opportunities they had to repeat the task within the time limits of a game. In general terms, this game was designed to examine the way a player balances risk and reward. Unfortunately, the visual version of the game introduced the unintentional risk of a \u201csafe\u201d player waiting too long, timing out and failing to respond at all. This caused the risk-reward structure of the game to be out of balance. This study reports on the subsequent design and evaluation of a simple informative sound that was added to the game. The intention was to address this time-out issue without impacting other aspects of player performance. A within-subject experiment with 48 participants measured the response time, number of timeouts, and success rate of each player in a sequence of tasks. We measured player performance under three conditions: no sound (visual-only), constant (non-informative) sound, and increasing amplitude (informative) sound. We found that the increasing sound display significantly reduced timeouts when compared with the visual-only and constant sound versions of the task. Importantly, this reduction in timeouts did not impair the players\u2019 performances in terms of their success rate or response time.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.513707","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:20Z","timestamp":1733131580000},"source":"Crossref","is-referenced-by-count":0,"title":["Informative Sound Assists Timing in a Simple Visual Decision-Making Task"],"prefix":"10.22501","author":[{"family":"Keith Nesbitt","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:40:21Z","timestamp":1784288421000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/513707\/513708"}},"issued":{"date-parts":[[2018,10,10]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/jss.513707","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,10,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:40Z","timestamp":1784290000765,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2018,6,28]],"date-time":"2018-06-28T00:00:00Z","timestamp":1530144000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,28]]},"abstract":"If writing about music is like dancing about architecture, theorizing about sound must be like running about interior design. It would be useless, a hopeless endeavor that would not lead to any insight into the phenomenon under analysis. Nevertheless, stubborn as we are, we are convinced that it is possible, and even necessary, to attempt to articulate, through language as well as through other means, sound and sonic encounters in all their diversities.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.484836","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:14Z","timestamp":1733131574000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: Aiming for an Impossibility?"],"prefix":"10.22501","author":[{"family":"Vincent Meelberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:42:16Z","timestamp":1784288536000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/484836\/484837"}},"issued":{"date-parts":[[2018,6,28]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.484836","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:58Z","timestamp":1784290018225,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Technologically mediated solitary listening now constitutes the prevalent mode of musical engagement in the Industrialized West. Music is heard in a variety of real-world contexts, and qualities of subjective experience might similarly be expected to be wide-ranging. Yet though much is known about function (music as a behavioral resource) less research has focused on ways in which music mediates consciousness. This essay critiques conceptualizations of music listening in extant literature and explores how listening to music in daily life both informs and reflects subjectivity. Psychological and musicological literature on music listening commonly distinguishes between autonomous and heteronomous ways of listening, associating the former with unusual and the latter with mundane, habitual listening scenarios. Empirical findings from my research, which used ethnographic methods to tap qualities of subjective experience, indicate that attentive and diffused listening do not map neatly onto 'special' and 'ordinary' contexts and that a distributed, fluctuating attentional awareness and multimodal focus are central to many experiences of hearing music.<\/jats:p>\n keywords: Music, acousmatic listening, consciousness, multimodal, phenomenology, absorption, dissociation<\/jats:p>","DOI":"10.22501\/jss.225321","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:12Z","timestamp":1733131572000},"source":"Crossref","is-referenced-by-count":1,"title":["Modes of Music Listening and Modes of Subjectivity in Everyday Life"],"prefix":"10.22501","author":[{"family":"Ruth Herbert","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:44:26Z","timestamp":1784288666000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/225321\/225322"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/jss.225321","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:02Z","timestamp":1784283002374,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,30]],"date-time":"2021-06-30T00:00:00Z","timestamp":1625011200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Niccolo Pagani was born in Genoa, October 27, 1782, and died May 27, 1840.He was an Italian composer considered one of the archetypes of violin virtuosity and one of the greatest representatives of the instrumental movement of Romanticism. He contributed with his contributions to the development of the \"modern violin technique\".The 24 caprices for violin are one of his best known works and have served as inspiration for numerous composers.In addition to the violin, he composed music for mandolin, guitar, viola and bassoon. His duets for violin and guitar and his compositions for string quartet stand out.In this work a brief synthesis is made of the valuable contribution of the Italian school of violin in the pre-Paganini period, integrated by outstanding composers and performers. It highlights the Italian influence in the development of the art of violin playing. Paganini's biography describes his great abilities that led him to be considered as the amazing, original, unique and unrepeatable violinist in the history of music. The exceptional qualities of this musician are attributed to a genetic factor, associated to his intrinsic ability and training. A description is made of the peculiar somatic characteristics that Paganini possessed based on medical descriptions and those of some contemporary musicians. It has been hypothesized by several authors that the musician suffered from a hereditary connective tissue disorder and two possibilities have been proposed: that of a Marfan syndrome or that of an Ehlers-Landos syndrome. A summary of the clinical and biochemical criteria characterizing these conditions is presented.What seems to be well founded is that he suffered from a \"joint hypermobility syndrome\", the true nature of which is conjectural, even if the hypothesis of a subtype III, hypermobile Ehlers- Danlos syndrome, may be favored. This condition affected him throughout his life, but contributed to make him the unrepeatable violinist he is remembered as in the history of music.<\/jats:p>\n keywords: kcpedia<\/jats:p>","DOI":"10.22501\/rc.1304079","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:14:56Z","timestamp":1684746896000},"source":"Crossref","is-referenced-by-count":0,"title":["Niccolo Paganini: Life, illnes and virtuosity"],"prefix":"10.22501","author":[{"family":"Carol Frias Perez","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:03Z","timestamp":1784282403000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1304079\/1304078"}},"issued":{"date-parts":[[2021,6,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1304079","published":{"date-parts":[[2021,6,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996800,"version":"3.55.0"},"posted":{"date-parts":[[2023,8,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,8,16]],"date-time":"2023-08-16T00:00:00Z","timestamp":1692144000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay is reflection on the research project \u201c Presence and sustainability in the Performing arts\u201d conducted by Camilla Damkjaer and Johanna Garpe at Stockholm University of the Arts 2021-2023. The project started from the idea that the premise of the performing arts is to capture people\u2019s attention. At the same time our attention is under pressure through experience economy, digitalisation and work-life conditions. We wanted to explore ways of creating sustainable relations to attention within this field. The purpose was of the project was therefore to develop a more sustainable relation to attention within the performing arts, in the meeting with meditative practices.<\/jats:p>\n keywords: performing arts, presence, attention, yoga, Meditation<\/jats:p>","DOI":"10.22501\/rc.2255144","type":"posted-content","created":{"date-parts":[[2023,8,16]],"date-time":"2023-08-16T05:20:55Z","timestamp":1692163255000},"source":"Crossref","is-referenced-by-count":0,"title":["\"ART THOU PAYING ATTENTION?\" - PRESENCE AND SUSTAINABILITY IN THE PERFORMING ARTS"],"prefix":"10.22501","author":[{"family":"Camilla Damkjaer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:21Z","timestamp":1784282361000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2255144\/2255143"}},"issued":{"date-parts":[[2023,8,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2255144","published":{"date-parts":[[2023,8,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:52Z","timestamp":1784286292934,"version":"3.55.0"},"posted":{"date-parts":[[2023,7,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,7,19]],"date-time":"2023-07-19T00:00:00Z","timestamp":1689724800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The main purpouse of this research is to find out how do students of classical department use recordings as a source of information for their daily practice and what kind of information they seek in those recordings that is helpfull for them. To get this a survey of ten question was disigned and shared through many methods on the students of the Koninklijik Conservatorium in The Hague. 24 students from varied specialities and courses answered the survey, and the collected data will be analysed<\/jats:p>\n keywords: Recordings, Artistic process, students<\/jats:p>","DOI":"10.22501\/koncon.1957912","type":"posted-content","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:29Z","timestamp":1725906989000},"source":"Crossref","is-referenced-by-count":0,"title":["The Usage of recordings from other musicians as a source of information by students of Classical Music"],"prefix":"10.22501","author":[{"family":"Pedro Dom\u00ednguez Conde","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:19:38Z","timestamp":1784283578000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1957912\/1957913"}},"issued":{"date-parts":[[2023,7,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/koncon.1957912","published":{"date-parts":[[2023,7,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:03Z","timestamp":1784290083370,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This article\u2019s pivotal theme is: How to compose a site-specific sound-art installation for a commercial space in order to improve conditions, while taking perceptual, social, aesthetical, temporal and spatial criteria into account.The interdisciplinary, art-based research approach is derived from the concept of acousmatics, i.e. the process of apprehending any sound, the source of which is invisible. Acousmatic perception concerns the everyday identification process; when lacking visual contact with the sound source, we automatically seek references, such as social (what produces the sound and what is my relation to it?), aesthetical, spatial and temporal (e.g. orientation and demarcation). The acousmatic concept identifies phenomena based on individually, culturally and spatially conditioned experiences.Today, a shopping culture dominates urban space. Indoor malls expose us to all types of acousmatically perceived sounds: jingles, signals, music and Muzak from public loudspeakers, mobile devices, etc. In this respect, one could claim that the soundscape of the shopping culture embodies an acousmatic environment.In 2009, the research and sound-art group Urban Sound Institute (USIT) created a permanent sound installation in a shopping mall (Gallerian) located in downtown Stockholm. This installation serves as a case study for the present paper. The artistic assignment involved the creation of a meeting place without material devices as well as the enhancement of the overall atmosphere. The research objective was to elucidate different qualities of the sound installation in regard to the acousmatics of the shopping mall, promoting discussions on the articulation of sound-space configurations in relation to time and site-specific context, issues on musical-architectural qualities as well as objective, subjective and inter-subjective interrelationships between the experience of the sound-art installation and the experience of the shopping mall soundscape. Other applied, interrelated concepts are metabolic environment and masking- and cutting effects.<\/jats:p>\n keywords: sound-art, art-based research, Site-specific, acousmatics, metabolic environment, shopping soundscape culture<\/jats:p>","DOI":"10.22501\/jss.220808","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:54Z","timestamp":1733131554000},"source":"Crossref","is-referenced-by-count":1,"title":["Modelling the Shopping Soundscape"],"prefix":"10.22501","author":[{"family":"Bj\u00f6rn Hellstr\u00f6m","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:43:56Z","timestamp":1784288636000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/220808\/220809"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/jss.220808","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:53Z","timestamp":1784289833442,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2018,8,29]],"date-time":"2018-08-29T00:00:00Z","timestamp":1535500800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,8,29]]},"abstract":"Our aim here is to both provide a response to the Conference \u2018Please Specify!\u2019 and to find an alternate way of ensuring that the intrinsic generative nature of research and art is kept active, akin to the mobius strip-like path of both conclusions, and openings. \u201cMidpointness\u201d is a generative project. It is dismantled and reconstructed through the gradual accretion of surrounding connections, associations and influences of the curators, artists, students and other audiences who contribute to it. These are in the form of artworks, public events, texts, artefacts, performances or other interventions. 'An Obstract for Midpointness' (Obstract)is a piece of artistic research constructed before, during and after, \"PLEASE SPECIFY!\", The SAR Annual Conference 2017.'Obstract' is as an element of the ongoing project \u201cMidpointness\u201d that seeks to invite us to consider the \u2018work\u2019 of art as art\u2019s labour or task. We seek to explore the dynamics of inner\/outer dialogues of the process of artistic work, opening up other potentials that an artist researcher might hope for when he\/she explores the generative potential of the work of artistic research directly within and in response to a conference about artistic research. At the centre is spoken text that is a play on the tradition of the conference \u2018abstract.\u2019 The abstract is the site of an outline of intention, yet here we couple it with an \u2018obstruction\u2019 as a means of aggravating and diverting the attempt at a conclusion towards which an abstract, and indeed a formal presentation, might be aimed. \u201cObstract\u201d suggests, by a process of intervention that the \u2018centre\u2019 (the work and\/or the text) and its surrounding universe are completely indivisible. As such the principle of \u2018footnotes\u2019 filter through to the whole spoken text; the footnotes being analogous to the surrounding constellations within which the \u2018centre\u2019 of the work sits, swapping footnotes for centre and vice versa. The footnotes refer to points both real and imagined in the past, present and future.<\/jats:p>\n keywords: art, artistic research, conference, abstract, midpointness, text, voice, footnotes, generative, constellations, artist as curator, Curatorial Studies, collaboration, collaborative processes<\/jats:p>","DOI":"10.22501\/ruu.361957","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:48:59Z","timestamp":1538221739000},"source":"Crossref","is-referenced-by-count":0,"title":["An Obstract for Midpointness"],"prefix":"10.22501","author":[{"family":"Andrew Bracey","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Steve Dutton","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:15:40Z","timestamp":1784286940000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/361957\/361958"}},"issued":{"date-parts":[[2018,8,29]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/ruu.361957","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,8,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974031,"version":"3.55.0"},"posted":{"date-parts":[[2025,12,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Thesis submission: Creative Section<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3348187","type":"posted-content","created":{"date-parts":[[2025,12,29]],"date-time":"2025-12-29T23:20:34Z","timestamp":1767050434000},"source":"Crossref","is-referenced-by-count":0,"title":["An interspecies (re)wilding of Practice and Process"],"prefix":"10.22501","author":[{"family":"Josh Wagner","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:25Z","timestamp":1784282245000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3348187\/3503234"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3348187","published":{"date-parts":[[2025,12,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:50Z","timestamp":1784286410197,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,5,15]],"date-time":"2023-05-15T00:00:00Z","timestamp":1684108800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,15]]},"abstract":"Much research has been done to better understand the emotional experience of music; from the philosophical, artistic, psychological, and statistical approaches. In this research we conduct a cross-domain experiment based on those four disciplines, to further understand the factors that influence the emotional perception of music; and in particular the difference between the artist\u2019s emotional conception and the audience\u2019s perception.In the experiment we train a novel model of an Artificial Neural Network, to predict the perceived emotion from a short musical phrase. We then feed the machine curated input, which simulates artistic choices, to explore its most significant factors in determining the perceived emotions.In the conclusion we describe the results, as well as the possible follow-ups to the experiment, such as an emotional expression training tool for musicians.<\/jats:p>\n keywords: emotion, music, perception, expression, neural network, emotions, Artificial Intelligence (AI), Data Science<\/jats:p>","DOI":"10.22501\/koncon.1790959","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:32Z","timestamp":1725907052000},"source":"Crossref","is-referenced-by-count":0,"title":["Aimpathy"],"prefix":"10.22501","author":[{"family":"Amit Yungman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:32:49Z","timestamp":1784284369000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1790959\/1790960"}},"issued":{"date-parts":[[2023,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1790959","published":{"date-parts":[[2023,5,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:19Z","timestamp":1784289799466,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","license":[{"start":{"date-parts":[[2021,5,21]],"date-time":"2021-05-21T00:00:00Z","timestamp":1621555200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,5,21]]},"abstract":"The practice-based research carried out throughout several projects and assembled in this exposition is structured around a rhizomatic nexus of still ongoing entries into plant-thinking and co-becoming with plants, partly based on photographic, photosynthetic and biosynthetic processes under the project framework Cogito ergo Pisum, partly based on archival findings, found footage, phenomena and related discourse. \"Cogito, ergo sum\" is a philosophical statement in Latin by Ren\u00e9 Descartes, usually translated into English as \"I think, therefore I am\". The phrase originally appeared in French as je pense, donc je suis in his Discourse on the Method, to reach a wider audience. Connecting and collapsing the notion of thinking with plants \u2013 or in this case gray peas of the species Pisum sativum var. arvense, transposed into \"Cogito ergo Pisum\" \u2013 is at the heart of this research.Within the project I am researching, developing and cross-breeding a flora of transdisciplinary experiments, new material studies and processes, that revolve around ways of rethinking, creating for and becoming with other life forms. Photographic, biosynthetic and agricultural methodologies are being used in Cogito ergo Pisum to both analyze and synthesize new ecologies. On the basis of horizontal (gene) transfer, hybridity and hospitality, a number of agents, patients and symbionts have been subject to material-semiotic and transgenic inquiries: Timo the artist and Timo the grey pea \u2014 bioart experiments involving horizontal transfer of my DNA to a grey pea cultivar (Pisum sativum var.arvense). Pisum Sativum used by Gregor Mendel in 1856 when unfolding many of the rules of heredity, now referred to as the laws of Mendelian inheritance, constitute a key plant in \"Cogito ergo Pisum\". Epidermodysplasia verruciformis, also known as Tree Man Syndrome, an extremely rare autosomal recessive genetic hereditary skin disorder, and Foliate heads, also known as Green men, constitute a highly symbolic reading of a hybrid plant-human being.Several works and results of the processes active in Cogito ergo Pisum have been installed in a number of exhibitions, many of which are ongoing or infinite by nature; presented in open archival or horizontal hybrid structures with documents, negative cyanotype photograms, wall drawings and lab notes on paper, mail correspondence, facsimile of illustrated manuscripts, and cultivations of growing grey pea seeds. Some of them, including literature, phenomena, found footage and historical events have later made it into the polyphonic performance reading \"M\u00f6rk Materia \/ Dark Matter(s)\", which has been adapted and reconfigured to the contexts it has been performed in. Using photographic and moving images, documents, objects, drawings and plant cultivations I am approaching, renegotiating and speculating about our common nature-culture, to both highlight and transform an increasingly dark matter: body, earth, space.<\/jats:p>\n keywords: dark matter, Dark Ecology, photogram, biopolitics, cyanotype, vegetal, horizontal transfer, OOO, Tree man, cultivation, Timothy Morton, Anna Atkins, green men, New Materialism, Semiotics, Roland Barthes<\/jats:p>","DOI":"10.22501\/ruu.829675","type":"journal-article","created":{"date-parts":[[2021,5,21]],"date-time":"2021-05-21T11:34:23Z","timestamp":1621596863000},"source":"Crossref","is-referenced-by-count":0,"title":["M\u00f6rk Materia \/ Dark Matter(s)"],"prefix":"10.22501","author":[{"family":"TM","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:53Z","timestamp":1784286473000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/829675\/1122602"}},"issued":{"date-parts":[[2021,5,21]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/ruu.829675","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2021,5,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:06Z","timestamp":1784286426066,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,7,25]],"date-time":"2019-07-25T00:00:00Z","timestamp":1564012800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,7,25]]},"abstract":"Student Number3111644Supervisor(s)Stefan Petrovic and Jed WentzTitleDid They Throw Tomatoes? The Performer-Audience Relationship in 18-century EnglandResearch QuestionWhat was the nature of the performer-audience relationship in 18th-century England and how can this influence our relationship with audiences today?SummaryWith the explosion of the public concert in 18th-century England and the ensuing so called \u201crage for music\u201d, it is clear that concerts were a vital part of the social life of England\u2019s elite and burgeoning middle class. What created this experience? What roles did both audience and performers play? How did it differ from the ways in which we encounter classical music concerts in the 21st century? This research explores how 18th-century English music was publicly experienced in paid, secular concert settings. It was quite different from what we might now expect in the same setting, and therefore it engendered a vastly different performer-audience relationship than what we often have today. The concert spaces, audience makeup, and concert etiquette each were contributing factors in creating a varied and highly social experience for concertgoers. The aim of this research paper is to illuminate this experience and explore how something similar might be relevantly created in the 21st century.Short BioChloe Prendergast is a violinist originally from Denver, Colorado. She is the artistic director of the Beethoven Festival of the Hague, a member of Holland Baroque and the Butter Quartet, and has performed with groups including the Handel and Haydn Society, Pacific Musicworks, Henry Purcell Society of Boston, Baroque Chamber Orchestra of Colorado, Luthers Bach Ensemble, Collegium Ad Mosam, and Arcadia Players. Chloe currently studies at the Royal Conservatory of the Hague with Kati Debretzeni and Walter Reiter. She holds a degree from Willamette University, where she was a Phil Hanni scholar and studied principally with Anthea Kreston and Daniel Rouslin.<\/jats:p>\n keywords: rage for music, 18th century, concert spaces, audience<\/jats:p>","DOI":"10.22501\/koncon.394280","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:43:09Z","timestamp":1725907389000},"source":"Crossref","is-referenced-by-count":0,"title":["Did They Throw Tomatoes? The Performer-Audience Relationship in 18th-century England"],"prefix":"10.22501","author":[{"family":"Chloe Prendergast","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:45:27Z","timestamp":1784285127000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/394280\/573216"}},"issued":{"date-parts":[[2019,7,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.394280","published":{"date-parts":[[2019,7,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981918,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.In a seemingly contradictory turn there appears to be considerable number of job openings for experienced architects across India.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1282009","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T02:47:23Z","timestamp":1622688443000},"source":"Crossref","is-referenced-by-count":0,"title":["JOBS DURING THE LOCKDOWN"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:11Z","timestamp":1784282411000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282009\/1282010"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282009","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:02Z","timestamp":1784283002372,"version":"3.55.0"},"posted":{"date-parts":[[2021,11,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,11,2]],"date-time":"2021-11-02T00:00:00Z","timestamp":1635811200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A simple two player instrument that does not require a lot of skill to playTo get full effect of the instrument it should be played by more than two players at the same time.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1407389","type":"posted-content","created":{"date-parts":[[2021,11,2]],"date-time":"2021-11-02T13:41:22Z","timestamp":1635860482000},"source":"Crossref","is-referenced-by-count":0,"title":["2 player Instrument"],"prefix":"10.22501","author":[{"family":"NTNU","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:00Z","timestamp":1784282400000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1407389\/1407388"}},"issued":{"date-parts":[[2021,11,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1407389","published":{"date-parts":[[2021,11,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936914,"version":"3.55.0"},"posted":{"date-parts":[[2025,9,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T00:00:00Z","timestamp":1757894400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Greyson RC<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3085784","type":"posted-content","created":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T08:43:52Z","timestamp":1757925832000},"source":"Crossref","is-referenced-by-count":0,"title":["Greyson RC"],"prefix":"10.22501","author":[{"family":"Julieanna Preston","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:56Z","timestamp":1784282276000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3085784\/3085785"}},"issued":{"date-parts":[[2025,9,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3085784","published":{"date-parts":[[2025,9,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023014,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T00:00:00Z","timestamp":1622592000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.On experiential and spatial implications around the strengthening and smudging of boundaries and territories.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1265589","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T07:43:35Z","timestamp":1622619815000},"source":"Crossref","is-referenced-by-count":0,"title":["Domestic-home-claims-fragmentation-experience"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:13Z","timestamp":1784282413000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1265589\/1265590"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1265589","published":{"date-parts":[[2021,6,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:23Z","timestamp":1784286503364,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2018,4,26]],"date-time":"2018-04-26T00:00:00Z","timestamp":1524700800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2018,4,26]]},"abstract":"Name: Adrianna van Leeuwen-SteghausMain Subject: Historical ClarinetResearch Supervisor: In\u00eas de Avena BragaTitle of Research:Emancipation of the Clarinet 1720-1760The transforming role of the two and three keyed clarinet in Sacred Music of the Late Baroque PeriodResearch Question: Can we trace the Baroque Clarinet's role in Sacred Music and is there an obvious progression in the way composers wrote for the instrument beginning in the early 18th century to the instruments demise in the mid 18th century?What was the Baroque Clarinet's role in Sacred Music? Did composers intentioanlly use this instrument and if so for what purpose?Summary of Results: When speaking about the clarinet, the first period of music we naturally associate with it is the Classical. However, few realise that the history of the clarinet begins much earlier in the Baroque, with an instrument that we would today describe as \u2018primitive\u2019. The Baroque clarinet was developed around 1700 in Germany. It's repertoire and legacy is confined to about 50 years of music history. Colloquially called the 'Mock Trumpet', the Baroque Clarinet is characterized by a bright and brilliant sound. Some research has been done on the instrument already, particularily on its general history and repertoire. However what remains missing is uncovering the Baroque Clarinet's role in sacred music. Sacred music, particularily cantatas dominated musical life in the 18th century. Cantatas were performed every Sunday as well as on special feasts throughout the ecclesiastical calendar. Over the past two years, I have discovered a trove of cantatas containing parts specifically written for the Baroque Clarinet, some by well-known composers such as Telemann and Graupner and others unknown until now, such as Seibert and Kurz. Coincidentally, most of the composers are of German origin, employed by various cities and\/or courts across the German-speaking lands.This research examines the repertoire and attempts to find a progression in the clarinet's use and role. The instruments characteristic timbre meant it shared a symbiotic relationship with the trumpet, but did it ever shed its trumpet association and find its own voice? Through analysis of the various cantata parts, I uncover that the clarinet was in some ways the 'perfect compromise'; able to sound brassy and brilliant when required, while also able to produce a sweet and singing tone. The clarinet was also techinically more capable then its trumpet counterpart, because it was less confined to the harmonic series and able to play quicker notes melodically with more stepwise intervals. In November 2017, the Royal Consrvatorie's Early Music Department premiered two of Telemann's cantatas with clarient parts; Lobet den Herrn TWV 1:1061 and Der Tod ist verschlungen in den Sieg TWV 1:320.Biography: Adrianna van Leeuwen-Steghaus, is a Canadian clarinettist specialising in historical instrument performance. She is a member of two successful chamber ensembles, the Swedish based trio Boxwood & Bows and the Dutch based duo The K\u00fcffner Gals. Adrianna graduated with distinction from the University Of Calgary (CAN), obtaining her Bachelor\u2019s degree in modern clarinet performance. She moved to the Netherlands in 2012, to complete a second Bachelor\u2019s degree in Historical Clarinet and Chalumeaux at the Koninklijk Conservatorium in Den Haag. Currently, she is busy completing her Master\u2019s degree and thesis under the tutelage of Professor Eric Hoeprich in the Netherlands.<\/jats:p>\n keywords: Clarinet, instrument design, music history, Telemann, Graupner<\/jats:p>","DOI":"10.22501\/koncon.298138","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:44:34Z","timestamp":1725907474000},"source":"Crossref","is-referenced-by-count":0,"title":["Emancipation of the Clarinet (1720-1760)"],"prefix":"10.22501","author":[{"family":"Adrianna van Leeuwen-Steghaus","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:48:18Z","timestamp":1784285298000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/298138\/298139"}},"issued":{"date-parts":[[2018,4,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.298138","published":{"date-parts":[[2018,4,26]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:17Z","timestamp":1784369117383,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T00:00:00Z","timestamp":1769558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,1,28]]},"abstract":"This paper delves into the dynamics and dramaturgical specifications of ANA, a theatrical installation engineered for co-creating narratives in a dialogic process with individual users. ANA embodies a collaborative storytelling environment that is used to communicate narrative and emotional information through multiple modalities, thereby bringing into focus an unexpectedly human essence in a human-machine interaction. Integrating GPT-4, emotion-recognition algorithms and a simulation of its own affective state, ANA engages users in a 10-minute interaction, fostering an immersive narrative exchange where the affective dimension of collaborative storytelling takes precedence. This paper explores the specific challenges of prompt design in this setting, focusing on the concept of emotional attuning, the feeling of being \u201cin sync\u201d with a machine throughout the interaction. Through an analytical lens encompassing cognitive science, philosophy of mind, and prompting techniques, the authors describe and reflect practices of employing multimodal sensorial data such as emotion recognition, and dramatic considerations, into the process of designing prompts. They also describe and reflect on their attempts to establish a form of meta-communication with the machine about the emotional aspects of the experience. By focusing on dramaturgical and improvisational strategies, this paper underscores the pivotal significance of emotional attunement and multimodal communication in fostering intimate technological engagement.<\/jats:p>\n keywords: artificial intelligence, artistic processes, theater installation, prompt engineering, prompting, improvisational theatre, affect theory, digital artistic research, large language model, storytelling, human-machine-interaction, installation art<\/jats:p>","DOI":"10.22501\/artact.3009623","type":"journal-article","created":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:53:41Z","timestamp":1769597621000},"source":"Crossref","is-referenced-by-count":0,"title":["In Sync With A Machine"],"prefix":"10.22501","author":[{"family":"Ilja Mirsky","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Gunter Loesel","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Leonid Berov","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:27:00Z","timestamp":1784366820000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3009623\/3009622"}},"issued":{"date-parts":[[2026,1,28]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/artact.3009623","published":{"date-parts":[[2026,1,28]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:20Z","timestamp":1784369120361,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T00:00:00Z","timestamp":1769558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,1,28]]},"abstract":"As interaction with corporate artificial intelligence increasingly becomes a precondition for contemporary life, artists need to see beyond Generative AI (GenAI) technology as a discrete tool that makes generic products. Instead, they can imagine combinatorial approaches and conceptual frameworks for AI-enabled artworks. Through my practice-based research, the act of prompting multimodal GenAI models has been informed by comprehending an assemblage as a \u201cframework of instruction\u201d held together through poetic alliances, within which the output from one component feeds the process of another. Practical experiments explored an interrelation of body, text, and predictive technology, where an algorithmic prediction of human action conjured \u201cbiometric poetry\u201d that was used to stimulate a language model. Working with archival film footage and digital puppets animated with motion-capture files gave rise to the idea of a camera\u2019s field of view \u2013 with its bounded contents acting like a key \u2013 eliciting value from a language model in a novel form of story making. Potential erroneous inferences were perceived as a new form of chance operation and a characteristic of algorithmic remix as defined by Steve F. Anderson. This method has been further developed in a project that combines performance, waste material, object recognition, and a language model to explore how the manipulation of garbage can be rationalised by a machine to produce poetic texts as a commentary to action portrayed on a screen.<\/jats:p>\n keywords: AI-enabled art, Intermedia, performance<\/jats:p>","DOI":"10.22501\/artact.3034539","type":"journal-article","created":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:54:00Z","timestamp":1769597640000},"source":"Crossref","is-referenced-by-count":0,"title":["Demolish Monsters on the Rocks: Prompting Through an Ensemble"],"prefix":"10.22501","author":[{"family":"bruce gilchrist","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:26:55Z","timestamp":1784366815000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3034539\/3771198"}},"issued":{"date-parts":[[2026,1,28]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/artact.3034539","published":{"date-parts":[[2026,1,28]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:25Z","timestamp":1784369125740,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2025,4,8]],"date-time":"2025-04-08T00:00:00Z","timestamp":1744070400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2025,4,8]]},"abstract":"In this exposition, I invite you to the process of research carried out in the tapestry manufactory in Vala\u0161sk\u00e9 Mezi\u0159\u00ed\u010d\u00ed. It aims to find out how to convey tapestries' craftsmanship, mediality and materiality through filming and post-production. The theme of transformation is essential: the transformation of the tapestry into a film image, but also the transformation of painting or graphics, which were the precursors of the tapestries woven in the manufactory. I am also looking for ways to use a primarily representational medium to achieve an effect of presence through materiality and corporeality. In my research, I interlace observational passages with stylized ones that emerge from a creative dialogue between the materiality of different media, artistic techniques, or post-production interventions. These methods can deepen not only the viewer's experience but also the documentary testimony and convey an almost tactile encounter with the filmed reality. Finally, based on practical experience, I distinguish working with materiality in film into three analytical cuts.V t\u00e9to expozici zvu do procesu v\u00fdzkumu, jak skrze nat\u00e1\u010den\u00ed a postprodukci filmu o gobel\u00ednov\u00e9 manufaktu\u0159e ve Vala\u0161sk\u00e9m Mezi\u0159\u00ed\u010d\u00ed zprost\u0159edkovat \u0159emeslnost, medialitu a materialitu tapis\u00e9ri\u00ed a recipro\u010dn\u011b i filmov\u00e9 technologie. Podstatn\u00fdm je tedy t\u00e9ma prom\u011bny. Prom\u011bny tapis\u00e9rie ve filmov\u00fd obraz, ale i prom\u011bny malby \u010di grafiky, kter\u00e9 byly p\u0159edobrazem v manufaktu\u0159e utkan\u00fdch tapis\u00e9ri\u00ed. Paraleln\u011b hled\u00e1m mo\u017enosti, jak pomoc\u00ed m\u00e9dia, kter\u00e9 je prim\u00e1rn\u011b reprezentativn\u00ed, doc\u00edlit skrz materialitu a t\u011blesnost \u00fa\u010dinku prezence. Ve v\u00fdzkumu st\u0159\u00edd\u00e1m observa\u010dn\u00ed pas\u00e1\u017ee se stylizovan\u00fdmi, kter\u00e9 vze\u0161ly z tv\u016fr\u010d\u00edho dialogu materialit odli\u0161n\u00fdch m\u00e9di\u00ed, v\u00fdtvarn\u00fdch technik \u010di postproduk\u010dn\u00edch z\u00e1sah\u016f. Tyto metody mohou prohloubit nejen div\u00e1ck\u00fd pro\u017eitek, ale i dokument\u00e1rn\u00ed v\u00fdpov\u011b\u010f a zprost\u0159edkovat a\u017e taktiln\u00ed setk\u00e1n\u00ed s nat\u00e1\u010denou skute\u010dnost\u00ed. Nakonec na z\u00e1klad\u011b praktick\u00e9 zku\u0161enosti rozli\u0161uji pr\u00e1ci s materialitou ve filmu do t\u0159\u00ed analytick\u00fdch \u0159ez\u016f.<\/jats:p>\n keywords: materialita, intermedialita, tapis\u00e9rie, digit\u00e1ln\u00ed obraz, experiment\u00e1ln\u00ed film, hand-made film, liquid light, \u0159emeslo, digit\u00e1ln\u00ed \u0159emeslo, AI, materiality, intermediality, tapestry, digital images, experimental cinema, hand-made cinema, Craft, digital craft.<\/jats:p>","DOI":"10.22501\/artact.3161278","type":"journal-article","created":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:42Z","timestamp":1753096722000},"source":"Crossref","is-referenced-by-count":0,"title":["Ruce v digit\u00e1ln\u00edm obraze: materialita tapis\u00e9ri\u00ed v autorsk\u00e9m dokument\u00e1rn\u00edm filmu"],"prefix":"10.22501","author":[{"family":"Petr Vasku","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:27:47Z","timestamp":1784366867000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3161278\/3161279"}},"issued":{"date-parts":[[2025,4,8]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/artact.3161278","published":{"date-parts":[[2025,4,8]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:34Z","timestamp":1784368954219,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2020,2,27]],"date-time":"2020-02-27T00:00:00Z","timestamp":1582761600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2020,2,27]]},"abstract":"My artistic research project at the Norwegian Academy of Music aims to highlight the role of the harpsichord player and the interpretation of basso continuo in G. F. Handel\u2019s continuo cantatas \u2013 i.e. cantatas for one voice with continuo accompaniment only. How the continuo realization is shaped in performance of this repertoire is crucial to the overall sound since there are no other obbligato instruments, unlike in the instrumental cantatas. A wide range of possible solutions emerge in the intersection between improvisation, composition, imagination, and speculation within a source-oriented approach. To give these cantatas a musical guise that is rarely heard among performer\u2019s today, I focus on an advanced and soloistic harpsichord continuo that includes different use of imitation, counterpoint, harmonic additions, \u2018duet-making\u2019 with the vocal part and other rarely heard features; inspired by certain German 18th-century continuo treatises such as Heinichen\u2019s Der Generalbass in der Composition (Dresden, 1728), Mattheson\u2019s Grosse Generalbass-schule (Hamburg, 1731) and Daube\u2019s General-Bass in drey Accorden (Leipzig, 1756) in addition to several preceding Italian(ate) and English sources, as well as idioms from Handel\u2019s own keyboard music. There are frequently significant discrepancies between how historical sources describe basso continuo playing and how today\u2019s harpsichordists interpret and perform their part within the context of the HIP-movement. In the last decades, two contrasting approaches stand out: those who accompany discretely with few parts and a transparent accompaniment: unofficially nicknamed \u2018Softies\u2019; and those who play generally fuller: \u2018Loudies\u2019 \u2013 from which my project receives its title.With this project, I aim to deepen the understanding of the discipline of continuo playing and to develop realizations that go beyond mere chordal playing often heard today in a much-neglected repertoire by one of the greatest composers of the Baroque era. Hopefully, this will challenge existing views and conventions among several branches of today\u2019s early music community, where strong performers and personas foster strong opinions.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.751373","type":"journal-article","created":{"date-parts":[[2021,4,13]],"date-time":"2021-04-13T08:31:10Z","timestamp":1618302670000},"source":"Crossref","is-referenced-by-count":0,"title":["Releasing the 'Loudie'"],"prefix":"10.22501","author":[{"family":"Christian Kjos","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:03:36Z","timestamp":1784365416000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/751373\/751374"}},"issued":{"date-parts":[[2020,2,27]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.751373","published":{"date-parts":[[2020,2,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:42Z","timestamp":1784286342932,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,2,25]],"date-time":"2025-02-25T00:00:00Z","timestamp":1740441600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,2,25]]},"abstract":"A good deal of mystery still surrounds some aspects of Arcangelo Corelli's work. Firstly, although he was recognised as the main composer of Sinfonie in Rome around 1700, all of his repertoire of this genre, with the exception of one, seems to have disappeared; secondly, none of his survived orchestral scores contains evidence of the well documented practice of using winds, trumpets in particular, in conjunction with strings. To fill these gaps, speculations have tried to identify, amongst Corelli's works, not only the ones that might have originated as Sinfonie, but also those that might have included trumpets in their original form. This research moves along the same path but sets a slightly different goal: on the one hand it considers that it is virtually impossible to determine if any of Corelli\u2019s survived compositions were originally conceived as Sinfonie with trumpets. On the other hand, it argues that through a study of Lulier's Santa Beatrice d'Este oratorio - a work that preserves the only genuine Corelli's Sinfonia that has survived - and through a comparative analysis of the two Handel's Roman oratorios, it is possible to approach closely the soundscape of Corelli's Sinfonie con trombe. To achieve that goal, in accordance with contemporary Roman examples, newly composed trumpet parts have been integrated into some movements of three concertos from Opus 6. The outcome can be listened in the audio-video material part of this paper. Whether the addition of trumpets on top of a string-only movement could have been improvised, and not planned beforehand with written parts, is open to further speculation.<\/jats:p>\n keywords: Corelli, trumpet, instrumentation, Concerti Grossi, Roman Sinfonie, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.2064153","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:45Z","timestamp":1725907005000},"source":"Crossref","is-referenced-by-count":0,"title":["With trumpets?"],"prefix":"10.22501","author":[{"family":"Fabio Bonizzoni","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:26:07Z","timestamp":1784283967000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2064153\/2064144"}},"issued":{"date-parts":[[2025,2,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2064153","published":{"date-parts":[[2025,2,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:54Z","timestamp":1784286354103,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,7,19]],"date-time":"2023-07-19T00:00:00Z","timestamp":1689724800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,7,19]]},"abstract":"While the commercial musical stream of \"Latin American Baroque\" has been associated with musical cross-breeding, the study of the colonial repertoire that composes it documents quite the opposite: the absence of non-European musical features. By accepting the impossibility to find the written \"Mestizo Baroque\", this research chooses to \"re-imagine it\" from orality. Taking the Fandango musical family as a framework, this research enters into playful dialogues between the XVIII century European fandango and its surviving folklore counterparts: the Mexican Son Huasteco and the Colombo-Venezuelan Joropo. Through analysis and transcription of oral sources, style comparison, arrangement, and improvisation this research aims to create a musical product that reclaims the mixed-raced identities, erased from colonial archives, in today\u00b4s Early Music industry.<\/jats:p>\n keywords: postcolonialism, Fandango, 18th century, historically informed performance, Folk, Crossover<\/jats:p>","DOI":"10.22501\/koncon.1835869","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:35Z","timestamp":1725906995000},"source":"Crossref","is-referenced-by-count":0,"title":["Camilo Arias - Master Research Last Sand"],"prefix":"10.22501","author":[{"family":"Camilo Arias","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:29:42Z","timestamp":1784284182000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1835869\/1835701"}},"issued":{"date-parts":[[2023,7,19]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1835869","published":{"date-parts":[[2023,7,19]]}},{"indexed":{"date-parts":[[2024,1,6]],"date-time":"2024-01-06T00:19:36Z","timestamp":1704500376672},"posted":{"date-parts":[[2024,1,5]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.2470929","type":"posted-content","created":{"date-parts":[[2024,1,5]],"date-time":"2024-01-05T20:44:14Z","timestamp":1704487454000},"source":"Crossref","is-referenced-by-count":0,"title":["Curricular units: Photography & Architectural Project Communication"],"prefix":"10.22501","author":[{"family":"FAUP & CONTRAST","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2024,1,5]],"date-time":"2024-01-05T20:44:14Z","timestamp":1704487454000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2470929\/2470930"}},"issued":{"date-parts":[[2024,1,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2470929","published":{"date-parts":[[2024,1,5]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T05:29:10Z","timestamp":1740806950440,"version":"3.38.0"},"posted":{"date-parts":[[2025,2,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,24]],"date-time":"2025-02-24T00:00:00Z","timestamp":1740355200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Cognitive tools are allegories of the human mind. They symbolize the feelings at the moment when the appearances they illustrate become extimate and no more intimate. In the Winter 2023, after watching and listening to a couple of interviews and her intense debates of love, desire and sexuality on my personal computer, Mari Ruti was in my dream. I learned that she lost her life after a few months due to a cancer she had had for years, which I did not know when I indulged in her digital appearance. This article is a tribute to Mari Ruti of the felt experience both for the dreamer and the significant other in the light of my digital memories of Ruti, excerpts from her books and interviews.<\/jats:p>\n keywords: Ethics, Desire, Dreams<\/jats:p>","DOI":"10.22501\/rc.3440059","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:09:04Z","timestamp":1740740944000},"source":"Crossref","is-referenced-by-count":0,"title":["Waking Up to Mari Ruti"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:09:04Z","timestamp":1740740944000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3440059\/3440060"}},"issued":{"date-parts":[[2025,2,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3440059","published":{"date-parts":[[2025,2,24]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977756,"version":"3.55.0"},"posted":{"date-parts":[[2025,6,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,22]],"date-time":"2025-06-22T00:00:00Z","timestamp":1750550400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Assignment 6Research DraftExpert TalksKeynote Presentations<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3768533","type":"posted-content","created":{"date-parts":[[2025,6,22]],"date-time":"2025-06-22T17:32:26Z","timestamp":1750613546000},"source":"Crossref","is-referenced-by-count":0,"title":["Assignment 6, Nico Classical Cello"],"prefix":"10.22501","author":[{"family":"Ade Agusto Nicolas","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:03Z","timestamp":1784282283000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3768533\/3768534"}},"issued":{"date-parts":[[2025,6,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3768533","published":{"date-parts":[[2025,6,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:02:57Z","timestamp":1784289777292,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2024,10,29]]},"abstract":"If there is one thing that complexity theory has taught us, it is to consider phenomena not as isolated events with properties of their own, but to observe them from a different perspective: as relations in a vast network of interdependent systems. In this light, the role of contemporary music performance has changed, and will continue to change, precisely because the context in which it is created and takes place is constantly evolving. Artistic research can provide the tools to be aware of these changes and to actively re-act in this changing context, not by simply transposing the context or its elements into a representational or aesthetic framework, as happened with the avant-gardes of the 20th century, but by breaking cultural boundaries through transpositions into distant fields with isomorphic functional principles. It is precisely because of this characteristic, which reveals the intrinsic interdisciplinarity in artistic research, that it is possible to revolutionize the traditional conception of music performance and not confine it to an aesthetic regime, but rather expand it to include the context. However, since relationships are not unambiguous, it is not just a matter of revising the concept of performance, but also of reviewing the way we experience and live in the context, as artists, as human beings, and as elements of a circuit of which we are only a small part. In this paper, I will first examine how environmental and social changes have been reflected in performative changes and the ways in which the context of the ecological crisis and contemporary performance are interrelated. Then, I will focus on my research project, \u201c[in situ]\u201d, highlighting its site\/situation-specificity, flexibility, immersivity, and interactivity, and explaining how it aligns with and differs from other contemporary music performance practices.<\/jats:p>\n keywords: SITE-SPECIFIC ART, improvised music, soundscape, performance, site-sensitive performance<\/jats:p>","DOI":"10.22501\/ruu.2154855","type":"journal-article","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T04:17:25Z","timestamp":1730175445000},"source":"Crossref","is-referenced-by-count":0,"title":["[in situ] : re-thinking the role of musical improvisation performance in the context of the ecological and cultural crisis"],"prefix":"10.22501","author":[{"family":"Barbierato Leonardo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:31Z","timestamp":1784286271000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2154855\/2154856"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2154855","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2024,10,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:28Z","timestamp":1784283028679,"version":"3.55.0"},"posted":{"date-parts":[[2018,10,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2018,10,30]],"date-time":"2018-10-30T00:00:00Z","timestamp":1540857600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This page consists of the program of the Performative Symposium for Ecological Spectatorship, that took place on the 16th of October in Het Huis Utrecht.***The symposium is organised by Gaia\u2019s Machine: an upcoming artistic research collective exploring the intersection between art, technology and nature. Aims for the symposium are:- Exchange knowledge between arts and sciences leading to a cross-fertilization of ideas and practices related to ecological spectatorship- Reflect on our positioning as young artists & scientists at a time of ecological crisis- Open a space for a young generation to question our responsibility and to explore potential methods of moving forwardThe term ecological spectatorship draws awareness towards humanity\u2019s entanglement within an ecological web. We approach \u2018ecology\u2019 from an ethical perspective, addressing the responsibility we have as a human species in relation to the earth (our oikos). Furthermore, we focus on \u2018spectatorship\u2019 \u2013 a branch within theatre studies that is concerned with the relation between makers and performers and the audience. We emphatically include the spectator in the performative space. Ecological spectatorship expresses a concern that in our view is not only relevant for theatre makers but also for politically engaged scientists.In the symposium we will not only take the placement of the spectator into account but we will allow the spectator to become actively engaged in making sense of ecological spectatorship. We are keen to create ample space for the audience to reflect on their experience and to open an exchange of knowledge between both objective and embodied knowledge, and between the collaborators as well as the audience.We will be researching the proposition of ecological spectatorship through the form of a performative symposium \u2013 a play on the traditional form of the symposium by making it both artistic and participatory.<\/jats:p>\n keywords: ecology, spectatorship, performative research, symposium, Gaia's Machine, geohistory<\/jats:p>","DOI":"10.22501\/rc.523929","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:13:57Z","timestamp":1684746837000},"source":"Crossref","is-referenced-by-count":0,"title":["Performative Symposium for Ecological Spectatorship"],"prefix":"10.22501","author":[{"family":"Juriaan Achthoven","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Rhian Morris","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:50Z","timestamp":1784282450000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/523929\/523930"}},"issued":{"date-parts":[[2018,10,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.523929","published":{"date-parts":[[2018,10,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:42Z","timestamp":1784283042733,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,22]],"date-time":"2020-12-22T00:00:00Z","timestamp":1608595200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition sets out evidence of the research undertaken over the last decade to\u00a0understand\u00a0the implications beyond the academy of the new paradigm presented in \u2018Overlooking The Visual: Demystifying the Art of Design\u2019 (2010), leading to \u2018Towards New Research Methodologies in Design: Shifting Inquiry Away from the Unequivocal Towards the Ambiguous\u2019 (2018). The exposition shows the process of developing \u2018The Art of Design\u2019 at a regional scale through a number of sequential case studies. Requiring investigative and analytical drawing from a position of knowledge and the reimagining and re-presenting of places in order to rekindle and reinvent the connection between communities and the space they inhabit, recognising the pride people take in that space, its cultural identity, be it urban, suburban or rural, is very much a modern, contemporary view of how our landscapes work.The ideas expressed in the visual narratives have engaged a wide range of decision makers and are shifting perceptions, planning policy and practices at a local, national and international level. \u00a0The student work exhibited in 2019 (BCU) explored the\u00a0spatial\u00a0implications of the ethos of the West Midlands National Park focused on specific locations and was vital in persuading key regional and national stakeholders of the significance of this new approach.This predominantly visual exposition presents the transformative practice-based research process manifest as visual artefacts from philosophy to practice interrogating the art of design.<\/jats:p>\n keywords: West Midlands National Park, carthography, Maps, concept, Hs2<\/jats:p>","DOI":"10.22501\/rc.1088641","type":"posted-content","created":{"date-parts":[[2020,12,22]],"date-time":"2020-12-22T08:50:01Z","timestamp":1608627001000},"source":"Crossref","is-referenced-by-count":0,"title":["The Art of Design: from philosphy to practice"],"prefix":"10.22501","author":[{"family":"Kathryn Jane Moore","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:22Z","timestamp":1784282422000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1088641\/1088642"}},"issued":{"date-parts":[[2020,12,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1088641","published":{"date-parts":[[2020,12,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993738,"version":"3.55.0"},"posted":{"date-parts":[[2021,12,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,12,7]],"date-time":"2021-12-07T00:00:00Z","timestamp":1638835200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Hilsen Brettet\" or \"The greeting board\" is a product designed to help those afflicted by dementia establish or maintain a relationship with those close to them. It does this by showing reminders of who their loved ones are and what they care about through a video with a short greeting from the person in question as well as a written description of them,<\/jats:p>\n keywords: dementia, board, relatives, Loved ones, Relationship, Elderly, Grandchildren<\/jats:p>","DOI":"10.22501\/rc.1440090","type":"posted-content","created":{"date-parts":[[2021,12,7]],"date-time":"2021-12-07T05:27:45Z","timestamp":1638854865000},"source":"Crossref","is-referenced-by-count":0,"title":["Hilsen Brettet \/ The Greeting Board"],"prefix":"10.22501","author":[{"family":"Henning Kristoffer Borgen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Maksim Tikhomirov","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Linn Kristin Melberg","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:58Z","timestamp":1784282398000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1440090\/1440091"}},"issued":{"date-parts":[[2021,12,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1440090","published":{"date-parts":[[2021,12,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:03Z","timestamp":1784369103807,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2024,12,12]],"date-time":"2024-12-12T00:00:00Z","timestamp":1733961600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,12,12]]},"abstract":"Hilma af Klint (1862-1944) is considered a pioneer of abstract painting. However, she herself hardly saw her artistic works as products or opus, but rather as a coherent system. Accordingly, the contribution presents and unfolds af Klint's paintings as an alternative version of modernism, an ecosystem or digestive system. This also takes up the mediumistic origin of the paintings: af Klint visualises transcendental messages. Looking forward and seeking out new possibilities (Bashkoff, 2018), she paints for a future that she perceives clairvoyantly.In text and images, the piece \"Metabolic Drawings \u2013 Or: Drawing metabolic\" develops a speculative landscape that follows the images and convictions of Hilma af Klint: Historical facts are interwoven with pictorial descriptions and culminate in a utopian or dystopian future. Theoretical approaches from Queer Studies and Speculative Feminism are adopted to critically question the reception of af Klint's paintings and of herself. In a way, the essay can be seen as a digestion of digestion.<\/jats:p>\n keywords: Hilma af Klint, New Materialism, Speculative Feminism, Critical History, Modernism<\/jats:p>","DOI":"10.22501\/hub.2755041","type":"journal-article","created":{"date-parts":[[2024,12,16]],"date-time":"2024-12-16T06:06:45Z","timestamp":1734329205000},"source":"Crossref","is-referenced-by-count":0,"title":["Metabolic Drawings \u2013 Or: Drawing metabolic"],"prefix":"10.22501","author":[{"family":"Teresa Mayr","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:23:28Z","timestamp":1784366608000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2755041\/2755042"}},"issued":{"date-parts":[[2024,12,12]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/hub.2755041","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2024,12,12]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:57Z","timestamp":1784368977250,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T00:00:00Z","timestamp":1773878400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2026,3,19]]},"abstract":"This artistic research project introduces the concept of multilingual silence to describe the artificial monolingualism that characterizes many contexts in which national majority languages or English dominate, despite actual linguistic diversity. The exposition takes as its point of departure the development and staging of the performance SILENCE (Post Theatre Collective, Helsinki 2025), in which an international multilingual ensemble uses languages that are rarely heard on Nordic stages. Focusing on her own artistic process and linguistic repertoire as a Sweden-Finn, playwright Vanja Hamidi Isacson investigates how multilingual silence can be challenged through artistic practice. Through process texts, stage texts, a working diary, text fragments, and reflections on language portraits, the exposition analyzes how the artistic process renegotiates language, identity, and voice. A theoretical discussion of monolingual and multilingual norms, linguistic repertoires, and polyvocality deepens and situates the concept of multilingual silence.<\/jats:p>\n keywords: Multilingualism, performance, performing arts, Language, polyvocality, collaborative processes<\/jats:p>","DOI":"10.22501\/vis.3670871","type":"journal-article","created":{"date-parts":[[2026,3,19]],"date-time":"2026-03-19T15:30:08Z","timestamp":1773934208000},"source":"Crossref","is-referenced-by-count":0,"title":["FLER_SPR\u00c5KIG TYSTNAD : MONI_KIELINEN HILJAISUUS : MULTI_LINGUAL SILENCE"],"prefix":"10.22501","author":[{"family":"Vanja Hamidi Isacson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:06:26Z","timestamp":1784365586000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3670871\/4197088"}},"issued":{"date-parts":[[2026,3,19]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/vis.3670871","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2026,3,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:02:56Z","timestamp":1784289776702,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T00:00:00Z","timestamp":1749686400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2025,6,12]]},"abstract":"In this exposition, I discuss encounters of culture that occurred in art-based action research (ABAR) with S\u00e1mi reindeer herder families in the Finnish regions of S\u00e1pmi (the S\u00e1mi homeland). Five S\u00e1mi reindeer herder families joined an ABAR -project to enhance and stabilise the S\u00e1mi reindeer herders' position in the majority society. The research project relates to the Department of Art Education's development of art-based action research, the theory of community-based art education and the concept of 'new genre Arctic art' at the University of Lapland in Rovaniemi, Finland. It is a long-term research project that emphasises participatory and co-research methods. As a researcher, I am in an insider-outsider position, as I live in the same region and share my daily life with a reindeer herder. We started the action by exploring the daily life of the reindeer herders through the Photovoice method. We gathered their photographs in an exhibition called Boazoeallin, a Davvi S\u00e1mi (Northern S\u00e1mi) word for Reindeer Life. The exhibition inspired the families to continue their visually informative work, and we designed the photographs in a book, also called Boazoeallin. The art-based collaboration with reindeer herders and the Boazoeallin exhibition and book contribute to the 'new genre Arctic art' that embraces participatory contemporary art, emphasising crucial matters of the multicultural Arctic.The S\u00e1mi people's history and culture form a destined constitution and obligation for ethical research conducted in S\u00e1pmi. The reindeer herders are unfamiliar with contemporary art, which challenged and changed the art education activities. The exposition reflects the challenges for an ethical, participatory, and democratic research approach in ABAR. In the research action, I have sought to frame the terms for which community-based art education best can serve communities of Indigenous cultures, the multicultural northern community, the Arctic, and global interests.<\/jats:p>\n keywords: Art-based action research, community-based art education, S\u00e1mi Indigenous people, Indigenous knowledge, participatory research, new genre Arctic art, co-research<\/jats:p>","DOI":"10.22501\/ruu.2602516","type":"journal-article","created":{"date-parts":[[2025,6,12]],"date-time":"2025-06-12T02:29:20Z","timestamp":1749695360000},"source":"Crossref","is-referenced-by-count":0,"title":["Community-based art education in the Arctic"],"prefix":"10.22501","author":[{"family":"Korinna Korsstr\u00f6m-Magga","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:22Z","timestamp":1784286262000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2602516\/2602517"}},"issued":{"date-parts":[[2025,6,12]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2602516","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2025,6,12]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:56Z","timestamp":1784369096197,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2025,12,8]],"date-time":"2025-12-08T00:00:00Z","timestamp":1765152000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,12,8]]},"abstract":"Guided by the members of the project P\u00c1R-A-GEM (Bruno Pereira, Fernando Jos\u00e9 Pereira and M\u00e1rio Azevedo) as guest editors, this edition offers in-depth explorations of the intersections between media, temporality, and embodied artistic research.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/hub.4041831","type":"journal-article","created":{"date-parts":[[2025,12,8]],"date-time":"2025-12-08T09:19:39Z","timestamp":1765185579000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: The possibility of having time to have a world"],"prefix":"10.22501","author":[{"family":"P\u00c1R-A-GEM","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Filipa Cruz","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"M\u00e1rio Azevedo","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:22:12Z","timestamp":1784366532000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4041831\/4041832"}},"issued":{"date-parts":[[2025,12,8]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/hub.4041831","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2025,12,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:15Z","timestamp":1784289855786,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","license":[{"start":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T00:00:00Z","timestamp":1719360000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,6,26]]},"abstract":"Foreword by Alexander Damianisch, Project Lead and Editorialreposition is a support project for research documentation and offers researchers of all disciplines and departments at the Angewandte the opportunity to publish their work according to peer-review principles. Colleagues of any level and doctoral students in arts and sciences are invited to share their work. This series showcases their diverse approaches to project-oriented research work and presents current insights, captivating research processes, and ongoing projects from a deeply personal perspective that courageously unearth the work-in-progress. The idea of reposition is to emphasise dynamic approaches that demonstrate the courage to adopt alternative perspectives and a focus that lies always on a dialogue in-between.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/repos.2475571","type":"journal-article","created":{"date-parts":[[2024,6,26]],"date-time":"2024-06-26T05:22:18Z","timestamp":1719379338000},"source":"Crossref","is-referenced-by-count":0,"title":["Foreword reposition #2"],"prefix":"10.22501","author":[{"family":"Alexander Damianisch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:22:14Z","timestamp":1784287334000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2475571\/2475572"}},"issued":{"date-parts":[[2024,6,26]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/repos.2475571","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,6,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024220,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,23]],"date-time":"2020-12-23T00:00:00Z","timestamp":1608681600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Inappropriate Shift is the title of a co-authored chapter in Collective and Collaborative Drawing in Contemporary Practice [eds Journeaux and Gorrill] by Dr Catherine Baker (Birmingham City University and Kimberley Foster (Goldsmiths University). However, it is part of a larger project conceived in 2015 been the two authors that includes a number of drawing related activities and is ongoing called Inappropriate Collisions.<\/jats:p>\n keywords: drawing, drawing research, collaboration, drawing exchange<\/jats:p>","DOI":"10.22501\/rc.1084381","type":"posted-content","created":{"date-parts":[[2020,12,23]],"date-time":"2020-12-23T08:51:06Z","timestamp":1608713466000},"source":"Crossref","is-referenced-by-count":0,"title":["Inappropriate COLLISIONS"],"prefix":"10.22501","author":[{"family":"Catherine Baker","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:22Z","timestamp":1784282422000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1084381\/1084382"}},"issued":{"date-parts":[[2020,12,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1084381","published":{"date-parts":[[2020,12,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:35Z","timestamp":1784286275563,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2014,9,22]],"date-time":"2014-09-22T00:00:00Z","timestamp":1411344000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,9,22]]},"abstract":"The popular perception of the University today involves notions of hierarchies of knowledge distribution and centres of excellence. The University is also regarded as a space where the values of social equality and mobility allegedly are reproduced, carrying the traces of sentiments such as those in which education is seen as a social good, a preparation for public life and civic responsibility. However, despite this general conception, students may look to a University for material, that is, career advantages, lecturers believe that universities are for critical inquiry and self-development (at least in Europe and America), and managers see it as a business enterprise and replicate the economic strategies of neo-liberalism. None of these conceptions sit very well together. In fact, they conflict sharply. The pressing question then is, What is a University?This project investigates and responds to this problematic question by looking more carefully at how people imagine the idea of a University. What exactly are the assumptions of say, a group of research students? How do different universities instigate and enforce the boundaries of membership and participation? And exactly what kind of education is on offer when universities operate as a 'service' industry with a managerial rationale borrowed from the business models of corporate capitalism? These questions weave through a series of collaborative and interventionist art projects, some of which are still under development and others have yet to be realised. The point is not to arrive at an answer, but to capture the experience of the University in transition and to problematise its conditions.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.33909","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T14:25:00Z","timestamp":1492439100000},"source":"Crossref","is-referenced-by-count":0,"title":["What is a University?"],"prefix":"10.22501","author":[{"family":"Daphne Plessner","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:15:31Z","timestamp":1784283331000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/33909\/33910"}},"issued":{"date-parts":[[2014,9,22]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/jar.33909","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2014,9,22]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:08Z","timestamp":1784369108287,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,7,14]],"date-time":"2026-07-14T00:00:00Z","timestamp":1783987200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,7,14]]},"abstract":"Encounters with biologist Kevin Gaston\u2019s \"Ecolight\" project\u2014investigating the impact of artificial light on animal ecosystems, and Professor Dan-E. Nilsson\u2019s research into the evolution of animal vision have significantly informed my artistic practice, particularly in the development of Fireflies. Nilsson\u2019s work in computational visual ecology offers speculative insights into how animal behaviours may shift under conditions of light pollution. Complementary to this, Daniel Hanley\u2019s hardware and software tools for translating animal vision into human-perceivable formats further deepen the conceptual and aesthetic grounding of the project .Collaborations with ophthalmologists at Stockholm\u2019s Karolinska Institutet, especially around human photoreceptors and scotopic vision, introduced the temporal concept of a 24-minute duration\u2014the time required for human eyes to fully adapt to darkness\u2014into the piece. These interdisciplinary dialogues foreground a key question at the core of the segment \"Fireflies: whose vision counts?\"Fireflies contrasts human sight with that of fireflies, creating an immersive experience from both perspectives.My practice-based approach has several implications, which are partially exposed in this paper:\u2022\tExploring new artistic methods that challenge norms, align with eco-narratives, and bring nature and technology closer together.\u2022\tUsing advanced tools in fulldome and 360\u00b0 in documentary-making.\u2022\tBridging to industry through hardware like the Sony A6400 micro-camera (developed by Daniel Hanley) to capture animal tetrachromatic vision. Other tools include Anamorph software to pre-visualize the future (will be used in the VR version) and the Red Raptor cameras and lenses for dome-compatible footage.\u2022\tDemonstrating how multimedia can broaden documentary formats, enabling uncommon venues for exhibition and distribution: i.e. domes, cinemas, and museums.\u2022\tContributing to documentary evolution through a speculative, \u201cliving documentary\u201d framework (will be true in the VR version, which is not analysed here).To balance human and more-than-human perspectives, I rely on high-tech tools, allowing art to both utilize and inform science and technology, engaging researchers in unfamiliar, creative contexts.<\/jats:p>\n keywords: fireflies, animal vision, bioluminescence, artwork, artistic research, sensory ecology, creative ecologies, film-making, photography<\/jats:p>","DOI":"10.22501\/artact.3739761","type":"journal-article","created":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:33:28Z","timestamp":1784108008000},"source":"Crossref","is-referenced-by-count":0,"title":["FIREFLIES: WHOSE VISION COUNTS?"],"prefix":"10.22501","author":[{"family":"Costanza Julia Bani","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:25:32Z","timestamp":1784366732000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3739761\/3868554"}},"issued":{"date-parts":[[2026,7,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/artact.3739761","published":{"date-parts":[[2026,7,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:03Z","timestamp":1784289903639,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2024,3,23]],"date-time":"2024-03-23T00:00:00Z","timestamp":1711152000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2024,3,23]]},"abstract":"The introduction to this special issue of The Journal of Sonic Studies addresses the concept of sonic waste in anthropological research. Stemming from a laboratory session titled \"Rubbish, Noise, Experimentations: New Afterlives of Field Recordings\" at the 2020 European Association of Social Anthropologists conference, this collection reconsiders ethnographic recordings traditionally categorized as noise or errors. The text sets the stage for the ensuing contributions that critically engage with discarded audio materials, challenging the long-standing emphasis on clarity and precision in field recordings.This introduction explores the notion of \u201cethnographic rubbish\u201d \u2013 recordings that fall outside the ethnographer's initial analytical framework \u2013 and positions this rubbish as worthy of scholarly attention. It argues for the inclusion of these \u201cnoisy\u201d artifacts in the broader ethnographic narrative, suggesting that they can offer unique insights into the affective and infrastructural aspects of the researched environments. By foregrounding the materiality of sound and advocating for a multimodal ethnographic approach, this introduction invites a reassessment of what constitutes valuable data.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.2601130","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:24:44Z","timestamp":1733131484000},"source":"Crossref","is-referenced-by-count":0,"title":["Introduction: Exploring the Phenomenon of Sonic Waste in Anthropology"],"prefix":"10.22501","author":[{"family":"Heikki Wilenius","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jonathan LARCHER","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:31:28Z","timestamp":1784287888000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2601130\/2601131"}},"issued":{"date-parts":[[2024,3,23]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jss.2601130","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2024,3,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:46Z","timestamp":1784286466924,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2016,9,5]],"date-time":"2016-09-05T00:00:00Z","timestamp":1473033600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,9,5]]},"abstract":"Name: Wiesje van EerselMain Subject: Music Education According to the Kod\u00e1ly ConceptResearch Coach: Patrick van DeurzenTitle of Research: Perspectives on Kod\u00e1ly Cello TeachingResearch Question:In which way can the Kod\u00e1ly concept form an integrated part of a cello teaching curriculum for children?Summary of Results:In search of a suitable method to educate my pupils towards comprehensive cello playing, I came across the Kod\u00e1ly concept. My first encounter was promising and I decided to pursue this further. My research investigates possible ways to integrate the Kod\u00e1ly concept in cello teaching for children. In my research paper, first the Kod\u00e1ly concept is defined, and on that basis, existing methods and practices are analysed and examined. In addition to the study of the written sources I have also observed lessons and experimented with the materials myself. Alongside this investigation I have been integrating the Kod\u00e1ly concept in my own teaching for three years. The reflection on that experience, together with my findings from the existing methods results in the conclusion that there are many possible ways to integrate (elements of) the Kod\u00e1ly concept in cello teaching.In the analysed methods, and in my own teaching, choices on how to integrate the concept depend on several factors. The initial perception of the concept is of influence, but also the practical reality of a particular teaching practice. I came to the conclusion that a structural, full implementation of the concept would have implications for the practical arrangement of my teaching. In my presentation I want to show the different perspectives, give practical examples and share my thoughts on a possible way to realise the concept in my teaching practice.BiographyWiesje van Eersel is cello teacher at the PI, Junior and Young Talent Department of the Royal Conservatoire, where she teaches children between 5 and 12 years old. She also teaches cello methodology at the Royal Conservatoire and the Conservatoire of Amsterdam, and teaches in a public music school.<\/jats:p>\n keywords: methodology, cello, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.222456","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:47:26Z","timestamp":1725907646000},"source":"Crossref","is-referenced-by-count":0,"title":["Perspectives on Kod\u00e1ly Cello Teaching"],"prefix":"10.22501","author":[{"family":"Wiesje van Eersel","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:53:03Z","timestamp":1784285583000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/222456\/222457\/40\/40"}},"issued":{"date-parts":[[2016,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.222456","published":{"date-parts":[[2016,9,5]]}},{"indexed":{"date-parts":[[2025,6,24]],"date-time":"2025-06-24T04:04:40Z","timestamp":1750737880209,"version":"3.41.0"},"posted":{"date-parts":[[2025,6,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,23]],"date-time":"2025-06-23T00:00:00Z","timestamp":1750636800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This visual essay explores images generated through AI-based expansion of a simple photographic composition. \nWithout commands or prompts, the system infers human gestures, shadows, and presences \u2014 inventing what was never there. \nThe project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. \nIt is not about representation \u2014 it is about refusal, inference, and the unsettling persistence of images beyond intention.<\/jats:p>\n keywords: Artificial Intelligence, Technical Image, Authorship, Memory, Individuation<\/jats:p>","DOI":"10.22501\/rc.3709080","type":"posted-content","created":{"date-parts":[[2025,6,23]],"date-time":"2025-06-23T14:49:12Z","timestamp":1750690152000},"source":"Crossref","is-referenced-by-count":0,"title":["What Is This Image Doing Here?"],"prefix":"10.22501","author":[{"family":"Giselle Hinterholz","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,6,23]],"date-time":"2025-06-23T14:49:12Z","timestamp":1750690152000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3709080\/3709081"}},"issued":{"date-parts":[[2025,6,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3709080","published":{"date-parts":[[2025,6,23]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026470,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,15]],"date-time":"2025-03-15T00:00:00Z","timestamp":1741996800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Agn\u00e8s Varda was more a photographer and invested in photographic storytelling in her fictions and non-fictions, such as the murals in Faces Places (Visages Villages, 2017). Experimental photographic narration and her artwork-like uses of the internet therefore is not a coincidence. In her internet accounts, she posed with her fans, while her Instagram account looks like an experimental work, an exhibition, open to the public and unfinished. In her first photograph, she is holding a necklace with a cat figure in her hand.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3514486","type":"posted-content","created":{"date-parts":[[2025,3,15]],"date-time":"2025-03-15T06:07:16Z","timestamp":1742018836000},"source":"Crossref","is-referenced-by-count":0,"title":["Cin\u00e9criture in Agn\u00e8s Varda\u2019s Filmosophy"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:14Z","timestamp":1784282294000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3514486\/3514485"}},"issued":{"date-parts":[[2025,3,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3514486","published":{"date-parts":[[2025,3,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:42Z","timestamp":1784283042753,"version":"3.55.0"},"posted":{"date-parts":[[2019,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,11,20]],"date-time":"2019-11-20T00:00:00Z","timestamp":1574208000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition presents 48 colour maps signifying the hue, saturation and brightness (HSB) differences between a screen colour and the resulting colour outcome when printing onto fabric with a digital inkjet textile printer. Each map is a 360 degree hue colour circle that has inner rings decreasing in saturation and brightness. These diagrams visualise the results of initial gamut mapping exercises to explore the colour shifts for a set of Pantone colours printed onto wool (w), linen (l), cotton(c) and silk (s) using reactive dyes. The colour maps, or digital lab dip tests, provide designers and SMEs with a visualisation of expected colour shifts, allowing them to make amendments to design work prior to printing, and managing expectations of printed colour outcomes.<\/jats:p>\n keywords: Colorimetry, Colour in the Arts and Design, Digital Colour, Digital Textile Printing, Colour, Design, Digital Economy, Digitally-Enabled Textile Manufacture, Coloration, Colour Physics \/ Measurement, Practice as Research, Sustainability<\/jats:p>","DOI":"10.22501\/rc.737713","type":"posted-content","created":{"date-parts":[[2019,11,20]],"date-time":"2019-11-20T17:39:51Z","timestamp":1574271591000},"source":"Crossref","is-referenced-by-count":0,"title":["Colour Maps"],"prefix":"10.22501","author":[{"family":"Becky Gooby","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:43Z","timestamp":1784282443000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/737713\/737714"}},"issued":{"date-parts":[[2019,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.737713","published":{"date-parts":[[2019,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:04Z","timestamp":1784283004588,"version":"3.55.0"},"posted":{"date-parts":[[2020,5,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,5,14]],"date-time":"2020-05-14T00:00:00Z","timestamp":1589414400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This project focuses on how percussionists get injured while playing. Six percussionists were interviewed focusing on their injury history and practice habits. This information was brought to medical professionals who helped decipher how the percussionists or their decisions, led them to sustaining a playing related injury. Finally, we compare their stories to current recovery science to see if there are some things we can learn about recovery and preventing injuries.<\/jats:p>\n keywords: percussion, injury, recovery<\/jats:p>","DOI":"10.22501\/rc.884191","type":"posted-content","created":{"date-parts":[[2020,5,14]],"date-time":"2020-05-14T06:52:36Z","timestamp":1589439156000},"source":"Crossref","is-referenced-by-count":0,"title":["Why are my hands in pain"],"prefix":"10.22501","author":[{"family":"Helgi \u00deorleiksson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:33Z","timestamp":1784282433000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/884191\/884192"}},"issued":{"date-parts":[[2020,5,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.884191","published":{"date-parts":[[2020,5,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:05Z","timestamp":1784283005519,"version":"3.55.0"},"posted":{"date-parts":[[2022,1,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,1,26]],"date-time":"2022-01-26T00:00:00Z","timestamp":1643155200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is a guide to the four ludo-immersive chamber operas in the doctoral project An Operatic Game-Changer. The operas were created during the period 2016\u20132020 and are contextualized and discussed in the dissertation with the same title, in which the practice of facilitating operas as adventures rather than spectacles is fleshed out. Through these participatory and multi-disciplinary concepts, conceived with the purpose of generating and analyzing live encounters between professional opera artists and co-playing visitors, immersive features are realized and explored. Arcade is also a kaleidoscopic performance and an exhibition, designed as an operatic amusement park in miniature, with artefacts and excerpts from the operas, and presented live in connection with the public defense of the thesis in 2022 at the Academy of Music and Drama in Gothenburg. This online resource functions as an archive of information about the operatic works and their performances, both for those attending the performance\/exhibition in Gothenburg, and for those wanting to learn about the project without experiencing this event.<\/jats:p>\n keywords: artistic research, opera, interaction, immersion, performance, perception, game design, participation, spactatorship, aesthetics, Apollonian, Dionysian<\/jats:p>","DOI":"10.22501\/rc.1172051","type":"posted-content","created":{"date-parts":[[2022,1,26]],"date-time":"2022-01-26T10:51:42Z","timestamp":1643194302000},"source":"Crossref","is-referenced-by-count":0,"title":["Arcade: A Guide to the Operas in the Doctoral Project \"An Operatic Game Changer\""],"prefix":"10.22501","author":[{"family":"Hedvig Jalhed","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:55Z","timestamp":1784282395000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1172051\/1172052"}},"issued":{"date-parts":[[2022,1,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1172051","published":{"date-parts":[[2022,1,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:05Z","timestamp":1784286365121,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,5,31]],"date-time":"2023-05-31T00:00:00Z","timestamp":1685491200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,31]]},"abstract":"Research questions:1. In what ways is Michael Chekhov\u2019s acting technique beneficial to classical singers portraying characters from operas in terms of the aspect of interpretation and acting, the aspect of mental preparation before a performance and the aspect of vocal projection?2. Are there specific concepts of the technique that are especially relevant to classical singers and why?Summary of the results of the research: In terms of interpretation and acting, Michael Chekhov\u2019s acting technique turned out to be very helpful to the singers. By exercising Chekhov\u2019s concept, they acquired a sense of clarity to their character and a physical and psychological understanding.In terms of mental preparation, the singers felt like they gained tools in calming the mind, achieving a feeling of ease. And that in general, by moving the focus from the intellectual and to the body is a great antidote for nervousness. In terms of vocal projection, all the singers agreed that their vocal performance improved when they sang their aria the second time when they implemented Chekhov\u2019s elements while performing the aria. There were differences of opinion among the singers as to which concepts of Chekhov\u2019s were the most beneficial. Questionnaire and discussions though brought to light that the quality of radiation and the feeling of ease appealed particularly well to the singers. I believe that the reason for that is that these qualities create an ideal physical state to sing. The feeling of ease creates a sense of ground, openness, calmness and at the same time alertness. The quality of radiation gives off a strong feeling of confidence, power, and freedom. The act of singing requires physical strength but without creating excessive tension in the body. Healthy singing requires being both firm and soft, which is achieved with both concepts.<\/jats:p>\n keywords: opera, acting, acting technique, classical singer<\/jats:p>","DOI":"10.22501\/koncon.1925541","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:07Z","timestamp":1725907027000},"source":"Crossref","is-referenced-by-count":0,"title":["Michael Chekhov\u2019s acting technique through the lens of a classical singer"],"prefix":"10.22501","author":[{"family":"Vera Hj\u00f6rd\u00eds Matsd\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:31:26Z","timestamp":1784284286000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1925541\/1925527"}},"issued":{"date-parts":[[2023,5,31]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1925541","published":{"date-parts":[[2023,5,31]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:48Z","timestamp":1784289828568,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T00:00:00Z","timestamp":1560470400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,6,14]]},"abstract":"This hyperstitional text describes the Disturbanist practice of the Anartist, that consists in subversive urban interventions on the edge of politics and counter-sorcery. Drawing on the theory of post-structuralist philosophers, it focuses particularly on artworks made with black cobblestones. This material, taken as symbolic concentrate of \"black mana\", evil spirits and spectral antagonist mythology is remodulated in provocative installations and interventions. The text shows also how the intensification of repetition of gestures, materials, symbols and forms can generate a singular territory-refrain based on a transpersona that - at its hyperstitional limit-unfolding - could resist, infect and counter-attack the Integrated Spectacle of Capitalism.<\/jats:p>\n keywords: Subversion, Sorcery, Urban Interventions, experimental counter-narrative, political shamanism, deterritorializations, theory and practice, transartistic provocation, untimely and unspacely s-witchflights, Chaosmagic actualization of the Black Sun, Antagonist Dark Situationism, Black Bloc sacred scatologies, Monster-signifier, Specters and simulacra, Reportages from the outside, Unemployable negativity<\/jats:p>","DOI":"10.22501\/ruu.448500","type":"journal-article","created":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T05:48:59Z","timestamp":1560491339000},"source":"Crossref","is-referenced-by-count":0,"title":["THE BLACK MANA AND THE EVIL SPIRIT OF THE COBBLESTONES"],"prefix":"10.22501","author":[{"family":"Gian Luigi Biagini","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:13:27Z","timestamp":1784286807000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/448500\/448501"}},"issued":{"date-parts":[[2019,6,14]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/ruu.448500","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,6,14]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:57Z","timestamp":1784368977395,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2025,11,5]],"date-time":"2025-11-05T00:00:00Z","timestamp":1762300800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,11,5]]},"abstract":"A dice roll is the very image of randomness. Every day since September 1, 1994, I have rolled a set of six dice, written down the number combinations and collected the numerical material in an ever-growing physical archive. The project is entitled \"one and one hundred dice rolls a day\". I use this numerical material as a starting point for transformations by translating each number, 1 to 6, into one sign, shape, sound or word, and by creating rules for how these translations will be used further. This method shapes the concrete outcomes and results in series or other forms of progressions and connections. What unites the different sub-projects that stem from the dice roll project is an exploration of the inherent nature of this special material and its potential for form, expression, and visibility, as well as a fascination with the diversity and variations generated, and with results I cannot fully predict. In this exposition, I will describe, make visible, and reflect on the working method, process, and the development of the formal language and expressions that have emerged from this ongoing, and in many ways interconnected, artistic project. The project is seen from a place (that of me, the artist's perspective) and is developed from a point (the dice rolls with dots representing numbers).<\/jats:p>\n keywords: visuell kunst, konseptkunst, seriell kunst, lydkunst, tid, terninger, tall, tilfeldigheter, transformasjoner, tegn, regler, systemer, kontinuitet, forl\u00f8p, endring, utvikling, variasjon<\/jats:p>","DOI":"10.22501\/vis.3227708","type":"journal-article","created":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:03:27Z","timestamp":1760997807000},"source":"Crossref","is-referenced-by-count":0,"title":["Sett fra et sted, utviklet fra et punkt"],"prefix":"10.22501","author":[{"family":"Annika Borg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:06:32Z","timestamp":1784365592000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3227708\/3390657"}},"issued":{"date-parts":[[2025,11,5]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/vis.3227708","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,11,5]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:48Z","timestamp":1742358168722,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0039","type":"journal-article","created":{"date-parts":[[2020,12,27]],"date-time":"2020-12-27T16:38:42Z","timestamp":1609087122000},"source":"Crossref","is-referenced-by-count":0,"title":["Artistic Research in Sweden"],"prefix":"10.22501","author":[{"given":"Per","family":"Zetterfalk","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,12,27]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:10Z","timestamp":1742292190000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-research-sweden"}},"issued":{"date-parts":[[2020,12,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0039","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2020,12,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:20Z","timestamp":1784283020755,"version":"3.55.0"},"posted":{"date-parts":[[2014,9,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2014,9,6]],"date-time":"2014-09-06T00:00:00Z","timestamp":1409961600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"YOU ARE NOT A SALMON is a multidisciplinary and cross-media project that moves its action within the orbit of the concept of \u201creversals of flows\u201d: natural dynamics that only superficially appear to subvert the established order \u2013 typical of a certain western vision- in a becoming which highlights the innate vocation of nature to challenge herself, but this also applies its own laws and prejudice itself perfect and flawless. One example is the salmon, a living being with unique features: born in fresh water, grows in the sea and reached maturity, traces the rivercurrent to return there where was born to reproduce himself. The instinct leads him to make a gesture that seems paradoxical (trace the current), but which in reality behind delicate and precise trim. The man followed this founding principle in accomplishing his own evolution, applied chemistry, genetics, physics, pursuing an engineering, developing a model with controversial results. The project is a permanently work in progress and has several development areas; it has been shown in a solo exhibition at Placentia Art Gallery, Italy (April 2012 - http:\/\/www.youtube.com\/watch?v=rtX5IO6BNyI) and it was the residency project developed during the AIR at Villa Str\u00e4uli, Winterthur, Switzerland. (July-December 2012). YOU ARE NOT A SALMON was hosted as a project of study and analysis during the works of the conference Change Course Conference convened by The Club of Rome, Theater of Winterthur, December 2012.Until now, the project has been developed in very different contexts, always looking for interaction with the pubblic and the local community.More info at http:\/\/youarenotasalmon-project.blogspot.it<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.98408","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:54:39Z","timestamp":1498053279000},"source":"Crossref","is-referenced-by-count":0,"title":["YOU ARE NOT A SALMON"],"prefix":"10.22501","author":[{"family":"Massimo Pianese","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:04Z","timestamp":1784282464000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/98408\/98409"}},"issued":{"date-parts":[[2014,9,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.98408","published":{"date-parts":[[2014,9,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024182,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,21]],"date-time":"2020-12-21T00:00:00Z","timestamp":1608508800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This practice-led research project investigates the importance of an empathically creative connection between freely improvising musicians in a live context with no pre-conceived ideas and details the development of instantaneous group composition. As such, (no)boundaries had no pre-composed music, there was no rehearsal period for the musicians (myself playing drums), and we had never played together before the first note of performance. In my research to date, the dynamic between pre-learned knowledge (embodied) alongside intelligent transactions during live improvisation (enacted knowledge), has been useful in helping to better understand the process of jazz improvisation. Even if there are pre-conceived elements, how the music is realised each time is unique. Conversely, even if we set out to have no pre-conceived ideas, in reality, we are still intuitively informed by our experiential and musical knowledge in performance. The two seem inextricably linked. (no)boundaries showed that group attunement in performance is possible with no pre-learnt repertoire or rehearsals, in an appropriate setting with the right co-performers. Even though no pre-conceived ideas were intended, (no)boundaries evidenced improvisations guided by similar principles of standard jazz performance, pointing to the existence of a common performance mode.<\/jats:p>\n keywords: Music and performing arts 2021<\/jats:p>","DOI":"10.22501\/rc.1043548","type":"posted-content","created":{"date-parts":[[2020,12,21]],"date-time":"2020-12-21T09:26:24Z","timestamp":1608542784000},"source":"Crossref","is-referenced-by-count":0,"title":["(no)boundaries: A Study in Free Improvisation"],"prefix":"10.22501","author":[{"family":"Andrew Bain","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:23Z","timestamp":1784282423000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1043548\/1043554"}},"issued":{"date-parts":[[2020,12,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1043548","published":{"date-parts":[[2020,12,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024194,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,25]],"date-time":"2020-12-25T00:00:00Z","timestamp":1608854400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is a practice research account of some of the research questions, processes and findings underpinning the performance text of \u201c1616: The Secrets and Passions of William Shakespeare\u201d, a one-man play about the life of William Shakespeare (written 2013-15, performed 2015-16, published 2016). The exposition includes the full playtext, a video trailer for the performance, and a discussion of the primary sources and themes investigated during the research and writing process.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1026244","type":"posted-content","created":{"date-parts":[[2020,12,25]],"date-time":"2020-12-25T07:39:05Z","timestamp":1608881945000},"source":"Crossref","is-referenced-by-count":0,"title":["1616: The Secrets and Passions of William Shakespeare"],"prefix":"10.22501","author":[{"family":"Gareth Somers","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:21Z","timestamp":1784282421000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1026244\/1043682"}},"issued":{"date-parts":[[2020,12,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1026244","published":{"date-parts":[[2020,12,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:44Z","timestamp":1784282984526,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,7]],"date-time":"2026-01-07T00:00:00Z","timestamp":1767744000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Amazing Patterns presents a practice-based investigation into pattern formation using ASCII and Unicode character systems as generative material. Developed within the broader research context of the ASCII Digital Design Museum (ADDM), founded in 2010, the project operates exclusively in live digital text environments under minimal computational constraints.Treating text not as language but as material, the exposition examines how repetition, variation, and rule-based operations generate complex visual structures from simple symbolic elements. Through sustained, character-by-character construction, the works demonstrate scalability and structural coherence across graphic, textile, and architectural references.Developed through human-authored, rule-based visual systems prior to contemporary AI image-generation tools, the project positions symbolic computing as a methodological precedent and sustainable exhibition model, emphasizing accessibility, durability, and long-term cultural preservation within web-native systems.<\/jats:p>\n keywords: ASCII, Unicode, 16-Bit, text as material, digital art, pattern systems, rule-based systems, generative systems, black-and-white, digital patterns, modularity, graphic design, textile design, architecture, symbolic computing, text-based art, procedural design<\/jats:p>","DOI":"10.22501\/rc.2237566","type":"posted-content","created":{"date-parts":[[2023,8,31]],"date-time":"2023-08-31T01:57:31Z","timestamp":1693447051000},"source":"Crossref","is-referenced-by-count":0,"title":["Amazing Patterns \u2593\u2588\u258b\u25e3\u25e3\u25e2\u25e2\u258b\u2588\u2593"],"prefix":"10.22501","author":[{"family":"Rozita Sophia Fogelman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:22Z","timestamp":1784282242000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2237566\/2253273"}},"issued":{"date-parts":[[2026,1,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2237566","published":{"date-parts":[[2026,1,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:50Z","timestamp":1784290070247,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2016,1,13]],"date-time":"2016-01-13T00:00:00Z","timestamp":1452643200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,1,13]]},"abstract":"This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound\u2019s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.234169","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:05Z","timestamp":1733131625000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center"],"prefix":"10.22501","author":[{"family":"Conor McCafferty","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:50:50Z","timestamp":1784289050000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/234169\/234170"}},"issued":{"date-parts":[[2016,1,13]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/jss.234169","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2016,1,13]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:03Z","timestamp":1784365863347,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2026,4,27]],"date-time":"2026-04-27T00:00:00Z","timestamp":1777248000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2026,4,27]]},"abstract":"phd thesis<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.4114022","type":"journal-article","created":{"date-parts":[[2026,4,27]],"date-time":"2026-04-27T10:48:47Z","timestamp":1777286927000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing folk music in slow motion"],"prefix":"10.22501","author":[{"family":"Egil Tobias Kalman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:57:22Z","timestamp":1784365042000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4114022\/4114023"}},"issued":{"date-parts":[[2026,4,27]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/uia.4114022","published":{"date-parts":[[2026,4,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:18Z","timestamp":1784286378737,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,5,16]],"date-time":"2024-05-16T00:00:00Z","timestamp":1715817600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,5,16]]},"abstract":"Horn players have the duty to play the Wagner tuba when the repertoire demands it, but do they really know how to do it and how to adapt to the change of instrument? Mastering the Wagner tuba and feeling confident on stage can be a difficult task. Not having one's own instrument, nor subjects or teachers dedicated to the teaching of this instrument complicates its knowledge and preparation.Therefore, this research aims to facilitate and educate in this process, providing the most relevant information both intellectually and practically and offering a complete overview of it. Following an inductive methodology based on written sources, an exhaustive technical analysis and the experience of professional horn players, it tries to answer questions such as why Richard Wagner created this instrument, what role it plays in the orchestra and what demands its performance requires.For all this, if you are a horn player and have to play the Wagner tuba or have already played it but have had no previous education, the results of this research will guide you in the process and will make you obtain a higher level of interpretation and knowledge.<\/jats:p>\n keywords: Wagner tuba, French horn, Wagner new instruments, Instruments and Techniques<\/jats:p>","DOI":"10.22501\/koncon.2379015","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:12Z","timestamp":1725906972000},"source":"Crossref","is-referenced-by-count":0,"title":["Understanding the Wagner Tuba: a practical guide for horn players"],"prefix":"10.22501","author":[{"family":"Gaizka Ciarrusta Insagurbe","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:28:26Z","timestamp":1784284106000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2379015\/2379016"}},"issued":{"date-parts":[[2024,5,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2379015","published":{"date-parts":[[2024,5,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:45Z","timestamp":1784283045100,"version":"3.55.0"},"posted":{"date-parts":[[2012,9,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2012,9,25]],"date-time":"2012-09-25T00:00:00Z","timestamp":1348531200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The theory of coincidences'Coincidences' determine an individual\u2019s state of being, balanced and in harmony with the universe. In this sense, coincidences can be understood as nature\u2019s purest law, and beyond nature they represent the perpetual bond between the relative and the absolute, as well as the birth of all forms of life and love. They\u2019re a link between reality and imagination, between desire and fantasy, between the body and the spirit, between life and death. The importance of such moments should form the basis of all scientific, artistic, economic, political and religious laws, as they determine the existence and subsistence of human beings upon the Earth, as well as upon any other planet. As the laws indicated above, like their establishment, are inseparable from one another, this theory becomes the bond that could further the quest, the growth and the evolution of mankind.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.28418","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:41Z","timestamp":1498053341000},"source":"Crossref","is-referenced-by-count":0,"title":["The theory of coincidences"],"prefix":"10.22501","author":[{"family":"Alberto Magrin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:08Z","timestamp":1784282468000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/28418\/28419"}},"issued":{"date-parts":[[2012,9,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.28418","published":{"date-parts":[[2012,9,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:40Z","timestamp":1784282980114,"version":"3.55.0"},"posted":{"date-parts":[[2022,5,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,5,9]],"date-time":"2022-05-09T00:00:00Z","timestamp":1652054400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Tv\u00eds\u00f6ngur, Icelandic two-part parallel fifth polyphonic oral folk practise.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1627986","type":"posted-content","created":{"date-parts":[[2022,5,9]],"date-time":"2022-05-09T11:12:06Z","timestamp":1652094726000},"source":"Crossref","is-referenced-by-count":0,"title":["Tv\u00eds\u00f6ngur - Tradition Icelandic Folk Music"],"prefix":"10.22501","author":[{"family":"Bj\u00f6rg Blondal","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:51Z","timestamp":1784282391000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1627986\/1627985"}},"issued":{"date-parts":[[2022,5,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1627986","published":{"date-parts":[[2022,5,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:39Z","timestamp":1784289939342,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2021,5,17]],"date-time":"2021-05-17T00:00:00Z","timestamp":1621209600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,5,17]]},"abstract":"Can we describe certain sonic experiences as \u201chomely,\u201d even when they take place outside of a traditional home-space? While phenomenological accounts of home abound, with writers detailing a rich spectrum of the felt characteristics of the homely including safety, familiarity, and affective \u201cwarmth,\u201d there is a scarcity of research into sonic experience that engages with such literatures. With specific interest in the experience of embodied space, I account here for what might be termed feelings of \u201csonic homeliness\u201d as they emerge during headphone listening. After forming a conceptual model of homeliness that draws from phenomenological philosophy, I investigate its applicability to experiences of headphone listening. Through analysis of primary interview data, I consider how headphones may be said to territorialize space for listeners, analyzing how sonic \u201cboundaries\u201d are experienced in relation to the body, as well as how some listeners describe their experiences as interiorized, comforting, and \u201cwombic.\u201d<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.1260374","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:36Z","timestamp":1733131536000},"source":"Crossref","is-referenced-by-count":3,"title":["Acoustic Territories of the Body: Headphone Listening, Embodied Space, and the Phenomenology of Sonic Homeliness"],"prefix":"10.22501","author":[{"family":"Jacob Kingsbury Downs","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:35:59Z","timestamp":1784288159000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1260374\/1260375"}},"issued":{"date-parts":[[2021,5,17]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jss.1260374","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2021,5,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:17Z","timestamp":1784289917690,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T00:00:00Z","timestamp":1623024000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2021,6,7]]},"abstract":"Stream your domestic appliances on p-node.org: fridge, washing machine, vacuum cleaner, coffee machine, etc. You can also use gardening tools.I\u2019ll mix them and re-stream the mix on ANTIVIRUS.(As you know, we can easily mix different streams on the p-node website by changing the volume levels and streaming the mix at the end.)<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.1233645","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:09Z","timestamp":1733131509000},"source":"Crossref","is-referenced-by-count":0,"title":["ANTIVIRUS !Make some domestic noise! on \u220f Node Part I"],"prefix":"10.22501","author":[{"family":"Sarah Brown and Valentina Vuksic","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Valentina Vuksic","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:35:41Z","timestamp":1784288141000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1233645\/1233646"}},"issued":{"date-parts":[[2021,6,7]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/jss.1233645","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2021,6,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:22Z","timestamp":1784286502634,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2016,6,14]],"date-time":"2016-06-14T00:00:00Z","timestamp":1465862400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,14]]},"abstract":"Name: Mikel Iba\u00f1ez SantervasMain subject: ViolinMain Subject teacher: Peter BruntResearch supervisor: Herman Jeurissen.Title of the research: Caprice Basque op.24 by Pablo Sarasate. Way of being interpreted.Research question: Why did Pablo Sarasate compose the first dance of the Caprice Basque in 3\/4 bar?Summary of results:The first dance of the \"Caprice Basque\" op. 24 by Pablo Sarasate is composed in 3\/4 although it is a traditional dance from Basque Country which is usually played in 5\/8. The piece was composed in 1880 when the quintuple bars were not still common at the classical occidental musical language but they were beginning to be spread little by little. After having analyzed all the documentation about it, my conclusion is that in the folkloric music often the musicians do not play what is written in the score really precisely. Sometimes what is written in the score is just an approximation of what it sounds. Is at the second half of the XIX, when, the folkloric music gets analyzed by expert musicians, that we start to see the relation between what we listen and what we read in the scores. This is exactly the case of Pablo Sarasate. He knew about the 5\/8 bar when he composed the Caprice Basque ( because of the geographical closeness of Pamplona (his hometown) and the Basque Country, and because there were in the Basque tradition some written 5\/8 \u201cZortziko\u201d examples as the one we have seen of 1813 by Antonia de Mazarredo or her sister Juana de Mazarredo) but despite he wrote it in 3\/4, it is completely sure that he would interpret it in the traditional way. Attached we can see a transcription of the piece in 5\/8 which shows how the \"Caprice Basque\" op. 24 should sound.Biography:Mikel Iba\u00f1ez, violinist. Born in Vitoria-Gasteiz (Spain) in 1989. He began his violin studies at de age of 6 at his hometown\u2019s conservatory with the teacher Agust\u00ed Coma Alabert. Throughout his ten first years of studies, he complemented the violin lessons with his main teacher having some master classes with other teachers like: V\u00edctor Parra, Christiam Ifrim, Joaqu\u00edn Palomares and Keiko Wataya. Once he was graduated in 2006, Mikel was accepted in MUSIKENE to study bachelor with the prestigious Japanese teacher Keiko Wataya. He obtained the bachelor degree with distinction in 2012. Then, searching for a technical and musical development, Mikel moved to The Hague after being accepted at the Royal Conservatorium of the same city to study with Peter Brunt, and got the bachelor degree in 2014. Currently, he studies second year Master at the Royal Conservatorium of The Hague with Peter Brunt.<\/jats:p>\n keywords: Pablo Sarasate, interpretation, meter, folk, score<\/jats:p>","DOI":"10.22501\/koncon.226590","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:47:35Z","timestamp":1725907655000},"source":"Crossref","is-referenced-by-count":0,"title":["Reseach: Caprice Basque, P. Sarasate"],"prefix":"10.22501","author":[{"family":"Mikel Ibanez","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:53:18Z","timestamp":1784285598000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/226590\/226591"}},"issued":{"date-parts":[[2016,6,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.226590","published":{"date-parts":[[2016,6,14]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:00Z","timestamp":1784368980443,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2025,10,21]],"date-time":"2025-10-21T00:00:00Z","timestamp":1761004800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,10,21]]},"abstract":"\u201cNo one knows what the experiment is worth, but I imagine it\u2019s better than sitting on your own hands.\u201d Possible and barely possible moves is inspired by the kung-fu film Drunken Master, where simulated intoxication is used as a way to confuse the opponent. \u2028In the project, I used sketches of the movements in the film as a starting point for physical improvisations and looped GIF animations. Imbalance and loss of control have been used as a consistent method \u2013 both to generate material and as a way to surprise myself.\u2028 Failing at something you've set out to do can sometimes generate new ideas.<\/jats:p>\n keywords: imbalance, Drunken Master, unpredictability, embodied cognition, failure as method, experiment, GIF animations, rotoscopy, augmented reality, View-Master<\/jats:p>","DOI":"10.22501\/vis.3246207","type":"journal-article","created":{"date-parts":[[2025,10,20]],"date-time":"2025-10-20T22:02:40Z","timestamp":1760997760000},"source":"Crossref","is-referenced-by-count":0,"title":["Possible and barely possible moves"],"prefix":"10.22501","author":[{"family":"Helene Berg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:06:50Z","timestamp":1784365610000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3246207\/3749249"}},"issued":{"date-parts":[[2025,10,21]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/vis.3246207","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,10,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024214,"version":"3.55.0"},"posted":{"date-parts":[[2020,9,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,9,30]],"date-time":"2020-09-30T00:00:00Z","timestamp":1601424000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Freestyle Orchestra is a performance collective of classically trained musicians exploring and questioning the limits of how an orchestra can express music in performance. They strive to create an aesthetic Gesamtkunstwerk on stage, incorporating physical movement, aerial arts, staging, lighting, costuming, and fire manipulation in live music performance. Building on contentions regarding the inherent physicality of musical performance as well as precepts within Embodied Music Cognition Theory asserting that meaning-formation is corporeal, they themselves research, train and perform as interdisciplinary artists, constantly experimenting with novel ways to communicate the movement and gesture they experience when listening to music more immediately to their audiences.The collective is convinced that this aspect of inherent physicality is something which has been sacrificed to the work-centric focus of classical music (and therefore neglected within conservatory training), and believe manifesting the movement they perceive within some music is a natural process which can itself generate meaning for both performer and audience. They envision the body as an instrument and strive to amplify musical gestures and meaning through physical movement, simultaneously enhancing and more deeply expressing their own understanding of musical compositions. This exposition introduces a 2019 collaboration with Australian composer Ross Edwards which resulted in a choreographed performance in City Recital Hall in Sydney of the composer\u2019s Maninyas violin concerto. It combines audio-visual footage, photos and texts contextualizing the research process, which included contemplation and re-enactment of Edwards\u2019 own musical journey in creating his Sacred and Maninyas styles, a way out of a personal musical crisis. Edwards\u2019 perspectives on the ecstatic and fundamental connections between nature, dance, ritual and music\/sound fed the physical and stage treatment as well as the processuel, experimental research of the Freestyle collective as they constructed their own, interdisciplinary performance of the concerto.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.995775","type":"posted-content","created":{"date-parts":[[2020,9,30]],"date-time":"2020-09-30T07:38:16Z","timestamp":1601451496000},"source":"Crossref","is-referenced-by-count":0,"title":["The Freestyle Orchestra: Questioning Norms in Classical Concert Performance through Ross Edwards\u2019 Maninyas Violin Concerto"],"prefix":"10.22501","author":[{"family":"Chanda VanderHart","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Sonja Schebeck","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:31Z","timestamp":1784282431000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/995775\/995776"}},"issued":{"date-parts":[[2020,9,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.995775","published":{"date-parts":[[2020,9,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:43Z","timestamp":1784286463943,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,6,7]],"date-time":"2021-06-07T00:00:00Z","timestamp":1623024000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,6,7]]},"abstract":"The Walton Viola Concerto is one of the most famous and recognized compositions in the viola repertoire. Apart from this, it is a compulsory piece in any viola orchestra audition. This research is focused on my practice and artistic process of the Walton Concerto, consequently subjective, to create an artistic choice. In order to achieve an ideal interpretation of this composition, I will investigate and analyze the first two recordings made of the Concerto, as both represent different versions of the piece with several differences between them. These recordings were made by Frederick Riddle in 1937, and by the famous violist William Primrose in 1946. This research aims to: (1) decide what details or alternatives I can recover from these recordings to inspire my own interpretation, and (2) find out what ideas from the first recording are reflected in the second one. Taking into consideration these recordings, I first drew up a list mentioning the differences found between them. Then, I classified these differences into different categories such as bowings, different notes, fingerings, orchestration, and so on. Finally, I recorded myself playing both versions of some passages. The main outcome I found is to discover that the sound-based approach (listening to recordings and experimenting with them) is a richer source of inspiration for a musician than a purely score-based comparison. I hope these artistic ideas can be a great stimulus and encouragement to other violists who want to play this wonderful Concerto.<\/jats:p>\n keywords: Walton, Concerto, Viola, performance, interpretation, differences, Art of Interpretation<\/jats:p>","DOI":"10.22501\/koncon.1056528","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:04Z","timestamp":1725907204000},"source":"Crossref","is-referenced-by-count":0,"title":["Walton viola Concerto beyond the score"],"prefix":"10.22501","author":[{"family":"Alberto Garc\u00eda P\u00e9rez","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:39:39Z","timestamp":1784284779000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1056528\/1056529"}},"issued":{"date-parts":[[2021,6,7]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1056528","published":{"date-parts":[[2021,6,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:51Z","timestamp":1784286351975,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T00:00:00Z","timestamp":1748563200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,30]]},"abstract":"This study dives into the realms of games and music, examining their history and the recent interest in the intersection of their features. The proliferation of research surrounding these two distinct yet interconnected fields has led to the emergence of new theories, reflections, and applications. While historical perception has commonly conceived \"play\" as a less serious activity, particularly in academic and artistic environments, this study explores how recent artistic movements have reclaimed its significance. Both games and music contribute to a particular cultural proliferation. Moreover, the technological landscape has further amplified the impact of these artistic endeavors, with entertainment platforms experiencing widespread dissemination and an exponential increase in user engagement. Drawing inspiration from prior research, the study aligns with other analytical frameworks while consciously narrowing its scope to the performer-composer relationship. This intentional focus aims to delve deeper into the intricacies of this dynamic without dismissing the importance of the audience, framing it as a subject of debatable relevance within the study's specific analytical scope.In conclusion, this study offers a comprehensive exploration of the relationship between games and music, shedding light on their shared history, contemporary developments, and the dynamics between performers and composers in the evolving landscape of artistic expression.<\/jats:p>\n keywords: composition, game studies, Games Literacy, improvisation, play<\/jats:p>","DOI":"10.22501\/koncon.2622512","type":"journal-article","created":{"date-parts":[[2025,5,30]],"date-time":"2025-05-30T10:21:48Z","timestamp":1748600508000},"source":"Crossref","is-referenced-by-count":0,"title":["Composing Play: \u2028An Investigation into Game Dynamics in Music"],"prefix":"10.22501","author":[{"family":"Livia Malossi Bottignole","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:24:12Z","timestamp":1784283852000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2622512\/2743832"}},"issued":{"date-parts":[[2025,5,30]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2622512","published":{"date-parts":[[2025,5,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:42Z","timestamp":1784290122444,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","license":[{"start":{"date-parts":[[2023,6,6]],"date-time":"2023-06-06T00:00:00Z","timestamp":1686009600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2023,6,6]]},"abstract":"In this project I sought to get new insights into the interpretational process, to make a contribution to the renewal of methods of working with a musical text, to find a new way to communicate meaning found in music, to broaden the role of the pianist to a co-creative one, and to unfold a new facet of the understanding of the Well-Tempered Clavier by J.S. Bach.The initial inspiration for this project came from the theory of the Ukrainian-born musicologist Boleslaw Javorsky (1877-1942), the main sense of which can be formulated as: the main foundation of the Well-Tempered Clavier (WTC) is the protestant chorales, and that the WTC is an artistic interpretation of images and plots of the Bible.The use of metaphors, images and narrative is important as a way of working with music for many musicians. For me this way of thinking has always been the most important working method, along with the wide range of other elements within my individual working processes, which inform my artistic practice. I intended to go further and through the creative process during this project develop a new methodological approach in working with the music text. I call the process in search for meaning in preludes and fugues.I try in this project to tell the story of my personal understanding of this iconic piece, often called the pianist's Bible. The story presented is not merely a descriptive Bible story, but rather a personal reflection over our existence.My working process began with trying to find and understand the connection between words in the chorales as well as other vocal works of Bach, and the music text of WTC. When analysing the found connection, each prelude and fugue receives a concrete semantic meaning. I decided to place the pieces chronologically according to the meaning I found, so that the entire WTC becomes a unified coherent story, instead of a collection of 48 separate pieces.I did not attempt to imitate the way of performing that was common during Bach's time, but rather to use all the advantages of the keyboard instrument of our time and all the expressive means it offers to share my findings. By experimenting with interweaving the motives of vocal music with WTC's music texture, I wanted to make my understanding of the genesis of the piece audible, but also to embed my reflections into my playing. It also broadened the role of the pianist to a more co-creative one, which was the common practice in Bach's time, but in an entirely different way. In other words, my intention was to make my interpretation historically informed, but to be faithful to the spirit of the time, rather than to the letter of the time.The legendary Bach scholar Albert Schweitzer wrote about WTC: \"What is gripping, is not the shape, or the structure of the pieces, but the worldview reflected in them\". To make my understanding of this worldview audible to all listeners, and to invite them to immerse themselves into Bach\u2019s spiritual universe (where the music's aim is the \u201crecreation of the spirit\u201d), is the overall goal of the project. Bach\u2019s faith generated his music, and so I hope that this music can in turn generate faith, which we need in our current times more than ever.<\/jats:p>\n keywords: J. S. Bach, Well-Tempered Clavier, chorales, piano, KMD_PhD, KMD_Grieg<\/jats:p>","DOI":"10.22501\/rc.1861285","type":"journal-article","created":{"date-parts":[[2022,12,14]],"date-time":"2022-12-14T21:03:11Z","timestamp":1671051791000},"source":"Crossref","is-referenced-by-count":0,"title":["Rethinking WTC: a new interpretation of the Well-Tempered Clavier by J. S. Bach through the prism of the theory of Boleslav Javorsky"],"prefix":"10.22501","author":[{"family":"Natalya Pasichnyk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:57:40Z","timestamp":1784289460000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1861285\/1861286"}},"issued":{"date-parts":[[2023,6,6]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/rc.1861285","published":{"date-parts":[[2023,6,6]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:37Z","timestamp":1784369077267,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2022,6,7]],"date-time":"2022-06-07T00:00:00Z","timestamp":1654560000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2022,6,7]]},"abstract":"The Sonic Complexion project has investigated from an artistic perspective the musical dimensions texture and \u2018klang\u2019 (harmony), with the aim of creating new music and new perspectives. The outcomes of the project are a number of new albums, methodologies and perspectives, coming from quite different starting point in terms of how to systematically-artistically investigate texture and harmony.<\/jats:p>\n keywords: Texture, music, improvisation, new music, modernism, harmony, metaphor, composition, composer as performer, mapping, mental representation, parameters vs gestures, RMC staff<\/jats:p>","DOI":"10.22501\/rmc.740085","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T05:42:58Z","timestamp":1737524578000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonic Complexion"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Niclas Hundahl","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:18:47Z","timestamp":1784366327000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/740085\/1373319"}},"issued":{"date-parts":[[2022,6,7]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/rmc.740085","published":{"date-parts":[[2022,6,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:01Z","timestamp":1784289781087,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"21","license":[{"start":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T00:00:00Z","timestamp":1730160000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2024,10,29]]},"abstract":"The exposition provides an insight into the collaborative process of creating and performing Fragmente2 (2021) a choreomusical work by musician Kerstin Fr\u00f6din and choreographer-dancer \u00c5sa Unander-Scharin based on the Japanese avant-garde composer Makoto Shinohara\u2019s solo piece for tenor recorder, Fragmente (1968). The exposition is an attempt to describe the methodology and creative process in this project, wherein music and dance intertwine in a non-hierarchical manner. The exposition follows the structure of the performance, which consists of a series of fragments, each of them analysed and descibed in terms of choreomusical interaction. We used Don Ihde\u2019s experimental phenomenology and perspective variation (1986) as an artistic method to analyse and explore different aspects of our choreomusical materials and interaction concepts. To address and elaborate the choreomusical elements, we used Maurice Merleau-Ponty\u2019s distinction between abstract and concrete movements (1945\/2012), Pierre Schaeffer\u2019s musical objects (1966\/2017), and our own concept of choreographic objects. Furthermore, to jointly analyse and evaluate different interaction concepts we used video recordings, annotated scores, choreography scripts, movement instructions, personal reflections, and metaphorical descriptions of the 17 fragments. The process resulted in a contrapuntal choreomusical work where music and dance act as equal parts.<\/jats:p>\n keywords: choreomusical work, artistic research, interdisciplinary performance<\/jats:p>","DOI":"10.22501\/ruu.2045845","type":"journal-article","created":{"date-parts":[[2024,10,29]],"date-time":"2024-10-29T04:16:30Z","timestamp":1730175390000},"source":"Crossref","is-referenced-by-count":0,"title":["FRAGMENTE2"],"prefix":"10.22501","author":[{"family":"Kerstin Fr\u00f6din","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"\u00c5sa Unander-Scharin","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:15Z","timestamp":1784286315000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2045845\/2045846"}},"issued":{"date-parts":[[2024,10,29]]},"references-count":0,"journal-issue":{"issue":"21"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2045845","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2024,10,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:46Z","timestamp":1784289886867,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T00:00:00Z","timestamp":1687737600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"PhD project: The Migrating Image, Supervisor: Gerhild SteinbuchEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2105216","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T18:18:53Z","timestamp":1714069133000},"source":"Crossref","is-referenced-by-count":0,"title":["The Migrating Image"],"prefix":"10.22501","author":[{"family":"Jo\u0161t Franko","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:25:19Z","timestamp":1784287519000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2105216\/2105211"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2105216","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:38Z","timestamp":1784286398957,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,5,12]],"date-time":"2022-05-12T00:00:00Z","timestamp":1652313600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,12]]},"abstract":"\u201cSearching for the Siren\u201d explores contemporary vocal approaches that mirror the aesthetics and the contemporary perception of defining the elements of Beauty. Specifically, three main thematics are researched: 1) The Folk Voice, which explores how folk elements and timbres enter in classical and popular music, 2) The Extended Voice, which describes the use of extended vocal techniques with reference to technical and physical aspects of timbral contrasts, vocal fry, scream and inhalation phonation, 3) The Absent, Transformed and Replaced Voice which occurred with the technological development. Ends with conclusions around the definition of the mythical creature of the Siren and its relation to the human voice. Every aspect includes personal views, works, performances and syllogisms.<\/jats:p>\n keywords: contemporary music, contemporary vocal aesthetics, voice, folk music, traditional music, early music, medieval music, aesthetics, singing techniques, pop music, popular music.<\/jats:p>","DOI":"10.22501\/koncon.1436711","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:38:57Z","timestamp":1725907137000},"source":"Crossref","is-referenced-by-count":0,"title":["Searching for the Siren | Exploring contemporary vocal aesthetics"],"prefix":"10.22501","author":[{"family":"Kristia\u00a0Michael","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:36:13Z","timestamp":1784284573000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1436711\/1436756"}},"issued":{"date-parts":[[2022,5,12]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1436711","published":{"date-parts":[[2022,5,12]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996805,"version":"3.55.0"},"posted":{"date-parts":[[2023,9,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,9,29]],"date-time":"2023-09-29T00:00:00Z","timestamp":1695945600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Vad vill man ens l\u00e4ra sig?Det h\u00e4r arbetet handlar om hur elever till\u00e5tas unders\u00f6ka sitt l\u00e4rande i skolan. Hur man synligg\u00f6r den kunskapen som elever har skaffat sig. Med ett processbaserat l\u00e4rande, deleuziansk affektperspektiv och kunskapsteori ramas ett unders\u00f6kande in d\u00e4r elevers vilja f\u00e5r styra och elever och l\u00e4rare gemensamt l\u00e4gger en grund f\u00f6r vilka kunskaper som ska belysas utan att l\u00e4rarens f\u00f6rf\u00f6rst\u00e5else dikterar villkor. Genom ett unders\u00f6kande i skolan tillsammans med nio gymnasieelever utvecklas ocks\u00e5 ett en egen fr\u00e5ga som r\u00f6r vad ett forskande slutarbete kan vara, hur det kan gestaltas och l\u00e4sas.\u2013What do you even want to learn?This work is about how students are allowed to examine their learning in school. How to make the knowledge that students have acquired visible. With a process-based learning, Deleuzian affect perspective and epistemological theory, a framework is made for a research in which students' will is allowed to govern and where students and teacher can together lay a foundation for which knowledges can be understood without the teacher's pre-understanding dictating conditions. Through the research, which is made together with nine high school students, a separate question is also developed, asking what a final-project-research can be, how it can be written and read.\u2013\u2003KonstfackInstitutionen f\u00f6r bild- och sl\u00f6jdpedagogikSj\u00e4lvst\u00e4ndigt arbete i Bild 30 hp \u00c4mnesl\u00e4rarprogrammet med inriktning mot arbete i gymnasieskolan (Bild - Media)VT22Handledare: Miriam von Schantz & Miro SazdicExaminator: Anette G\u00f6thlund<\/jats:p>\n keywords: Utbildning, education, Skola, School, Bed\u00f6mning, assessment, affekt, affect, blivande, becoming, Bildpedagogik, art pedagogy, kunskapsteori, epistemological theory, Examensarbeten - IBIS<\/jats:p>","DOI":"10.22501\/rc.1597600","type":"posted-content","created":{"date-parts":[[2023,9,29]],"date-time":"2023-09-29T02:17:14Z","timestamp":1695953834000},"source":"Crossref","is-referenced-by-count":0,"title":["Hacka Skolan. Ett arbete om: kunskaper och elevers blivande i skolan"],"prefix":"10.22501","author":[{"family":"Jason Norda","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:14Z","timestamp":1784282354000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1597600\/1603985"}},"issued":{"date-parts":[[2023,9,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1597600","published":{"date-parts":[[2023,9,29]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:54Z","timestamp":1784286534344,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2014,9,5]],"date-time":"2014-09-05T00:00:00Z","timestamp":1409875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Jannelieke SchmidtMain Subject: Classical SingingResearch Coach: Patrick van DeurzenTitle of Research: Combining Coco, Arranging for \u201cHet Coco Collectief\u201dResearch Question:How do I arrange from a market, artistic, voice technique and stylistic point of view mostly single-voiced by piano accompanied music for \u201cHet Coco Collectief\u201d which consists of five sopranos and one pianist?Research Process: In order to develop my skills, theoretic knowledge and insight in the process of making arrangements I studied sources concerning music theory and chord writing, I made several arrangements, I interviewed arrangers and singers, I had my fellow Coco colleagues answer questions about their preferences concerning singing in the ensemble and I analysed my arrangements.Summary of Results: My paper contains all the information I gathered over a two year research period. It has become a little handbook of tips, tricks and rules. I gained skill and knowledge mainly through trial and error, rehearsals with the ensemble and analysing my interviews and questionnaires. I arranged three pieces by Rossini (La pastorelle delle Alpi, La Danza, La legend de Marguerite) one piece by William Bomcom (Amor) one piece by Johannes R\u00f6ntgen (Op een Kwal) and one piece by Bizet (Adieux de l\u2019hotesse Arabe). I used La Danza en La legend de Marguerite as material to compare arrangements before and after my research in order to detect differences in choice making and using gained knowledge and skill. I used Op een Kwal en Adieux de l\u2019hotesse Arabe in order to explain how a piece changes through a rehearsal process and adapting the piece for either stage of radio.Through talking to the arrangers and working on my pieces together with my coco colleagues and my research coach I found what I was looking for: skill. From the beginning of this research I was looking for justification of my choices. I found that for me to feel secure of my work I needed those two years of thinking that rules is all I needed. That if I could explain an idea by saying it there because of a style or historical context, from a voice technical of personality choice, from Coco\u2019s image or other peoples opinion my arrangement would be good enough. If I could find arguments and explanations for why I did what I did, I should not have to justify why I dare to rearrange already \u2018perfect\u2019 repertoire. I created the handbook, containing tips tricks and rules: music theory, all the knowledge shared with me during interviews, Coco\u2019s preferences, all the rules are there. Everything in order to be able to let go of them if it pleases me. My choices are still based on knowledge but now I can consciously use or not use the rules. I have developed a greater trust in my own artistic ideas about the pieces I arranged. I have developed a greater understanding of what it is to write for this ensemble, for these people. And as said before I have created a little booklet of rules for anyone who wants to arrange for voices and piano. During my presentation Het Coco Collectief will sing both La Danza and Adieux de l\u2019hotesse Arabe.<\/jats:p>\n keywords: sopranos, pianist, ensemble, singing, arranging<\/jats:p>","DOI":"10.22501\/koncon.64886","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:49:39Z","timestamp":1725907779000},"source":"Crossref","is-referenced-by-count":0,"title":["Combining Coco, Arranging for Het Coco Collectief"],"prefix":"10.22501","author":[{"family":"Jannelieke Schmidt","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:58:09Z","timestamp":1784285889000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/64886\/64887"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.64886","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:54Z","timestamp":1784286354106,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T00:00:00Z","timestamp":1747267200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,5,15]]},"abstract":"Musical performance is not only an aesthetic endeavour, but also a captivating social environment. Hence, this research utilizes principles from social communication theory, mainly through Communicating (Berko et al., 2016), to explore new ways of highlighting and enhancing connections with and among music audiences. A starting point for this study is that most concerts nowadays are built in a similar style to public speaking but use some anachronistic views and inefficient communication methods, thus missing opportunities to convey a message more directly and achieve greater impact. Through literature study and practical experimentation, I will review and test the influence of different factors from interpersonal-communication style \u2013 elements that have not been documented and researched enough in this context. These include, among others, performer-audience eye contact, synchronized activity (based on entitativity studies), and vulnerability and openness. The experimental process will be limited to my own artistic practice as a classically trained pianist and free-improviser, and this focus is present in the gathered literature as well. As a qualitative study, the data analyzed is assembled from observations, feedback, and reflection. Results demonstrate how different social and communicational tools create varying levels of engagement, and how challenging the normative role of the listeners can create a more demanding experience yet with more fulfilling outcomes. A performance that really involves the audience enriches everyone, and I hope this paper can inspire new ideas for musicians and artists of any kind to explore this topic further, and to communicate better with the human environment around them.<\/jats:p>\n keywords: Beyond Discipline, improvisation, communication, Interaction, audience engagement, Audience participation, body language, socially engaged art<\/jats:p>","DOI":"10.22501\/koncon.3178516","type":"journal-article","created":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T02:27:05Z","timestamp":1747276025000},"source":"Crossref","is-referenced-by-count":0,"title":["Seeing Each Other Through Music"],"prefix":"10.22501","author":[{"family":"Ron Aviv","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:25:42Z","timestamp":1784283942000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3178516\/3460236"}},"issued":{"date-parts":[[2025,5,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3178516","published":{"date-parts":[[2025,5,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:18Z","timestamp":1784286378735,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,6,1]],"date-time":"2023-06-01T00:00:00Z","timestamp":1685577600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,6,1]]},"abstract":"Verdiales is the traditional music from M\u00e1laga, Spain, which is little known even within Spain. This research places verdiales in its historical and musical context looking at: the differences between styles, rhythm and harmony, and, most importantly, the role of the violin in this music.As the main instrument in verdiales, the violin is played in a very different way than in classical music, since it is spontaneous music with a great deal of freedom for improvisation, disseminated purely by oral transmission, and with a particular technique which is suited to playing only this music.Through the deep learning of verdiales, I have looked for different resources to face my daily practice issues in order to gain more flexibility and freedom in my way of playing. After trying several exercises and approaches in different parts of my practice, I have been self- documenting and verifying the improvement and effectiveness of certain methods, taking into account different aspects such as bow hold, ornamentation, and improvisation. As a result, I came to the conclusion that in order to achieve different results, it is necessary for more exploration and extremely different methods than the ones I have been using when practicing the violin<\/jats:p>\n keywords: traditional music, folk, violin<\/jats:p>","DOI":"10.22501\/koncon.1737062","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:02Z","timestamp":1725907022000},"source":"Crossref","is-referenced-by-count":0,"title":["The art of the violin in Verdiales"],"prefix":"10.22501","author":[{"family":"Mar\u00eda Estela Lastre Castillo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:31:08Z","timestamp":1784284268000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1737062\/1737063"}},"issued":{"date-parts":[[2023,6,1]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1737062","published":{"date-parts":[[2023,6,1]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967808,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:00:00Z","timestamp":1759795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Afterwork explores the shifting relation between human labour and automation through the lens of political imagination and speculative fiction. Building upon new iterations of the live action role-play (LARP) Afterwork, firstly run at Kunsthalle Wien in 2023, it investigates how art-based world-building methods can serve as critical tools for thinking beyond prevailing labour ideologies in the context of rising automation.<\/jats:p>\n keywords: larp, artwork, artistic research, writing, scenario, political imagination, post-work, role-play<\/jats:p>","DOI":"10.22501\/rc.3910523","type":"posted-content","created":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T08:01:05Z","timestamp":1759824065000},"source":"Crossref","is-referenced-by-count":0,"title":["Afterwork: On Political Imagination and the Relation Between Human Labour and Automation through the Exploration of Post-Work Scenarios"],"prefix":"10.22501","author":[{"family":"Ana de Almeida","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:52Z","timestamp":1784282272000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3910523\/3910524"}},"issued":{"date-parts":[[2025,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3910523","published":{"date-parts":[[2025,10,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:18Z","timestamp":1784289798561,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","license":[{"start":{"date-parts":[[2021,5,21]],"date-time":"2021-05-21T00:00:00Z","timestamp":1621555200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,5,21]]},"abstract":"This exposition brings together multiple contexts, narratives and modes of expression to tell multispecies (hi)stories about and from Donbas region, Ukraine, where a military conflict broke out in 2014. By engaging with fossils, paleobotany and testimonies of internally displaced persons, the exposition explores vegetal imaginaries of the region in a series of drawings and questions stories we tell about Donbas and displacement, and ways in which we tell them.<\/jats:p>\n keywords: plants, cultural memory, memory, displaced persons, Displacement, fossil, multispecies, vegetal, migration, war, conflict, geology<\/jats:p>","DOI":"10.22501\/ruu.947428","type":"journal-article","created":{"date-parts":[[2021,5,21]],"date-time":"2021-05-21T11:34:07Z","timestamp":1621596847000},"source":"Crossref","is-referenced-by-count":0,"title":["Between plant fossils and oral histories: tracing vegetal imaginaries from Donbas, Ukraine"],"prefix":"10.22501","author":[{"family":"Darya Tsymbalyuk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:07Z","timestamp":1784286487000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/947428\/947429"}},"issued":{"date-parts":[[2021,5,21]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/ruu.947428","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2021,5,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025284,"version":"3.55.0"},"posted":{"date-parts":[[2023,4,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,13]],"date-time":"2023-04-13T00:00:00Z","timestamp":1681344000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Interactive digital art installation for dance performance in collaboration with choreographer Jia Yu Corti, London Contemporary Dance School (The Place), 2011.Dance improvisation by Robert Anderson and Kathy Crick.<\/jats:p>\n keywords: video installation, computer art, dance improvisation, Duchamp, Painting<\/jats:p>","DOI":"10.22501\/rc.2069814","type":"posted-content","created":{"date-parts":[[2023,4,13]],"date-time":"2023-04-13T06:38:47Z","timestamp":1681367927000},"source":"Crossref","is-referenced-by-count":0,"title":["Shadows of Intimacy, collaboration with Jia Yu Corti"],"prefix":"10.22501","author":[{"family":"Zoe Panagiota (aka Betty) Nigianni","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:38Z","timestamp":1784282378000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2069814\/2069815"}},"issued":{"date-parts":[[2023,4,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2069814","published":{"date-parts":[[2023,4,13]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:55Z","timestamp":1784289895872,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T00:00:00Z","timestamp":1743638400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,4,3]]},"abstract":"Maria Vilkovisky is a poetess, musician, artist, and curator born in Almaty, Kazakhstan. She graduated from the Kazakh State Conservatory as a violist, worked in the opera house orchestra, studied at the \u201cMusagethes\u201d literary school for writers in Almaty and at the curatorial summer school in Moscow. She is co-founder of a long-term para-institutional project called Kr\u00eblex zentre (together with Ruthia Jenrbekova), and from 2011\u20132014 she ran an art space in Almaty. She lives and works in Almaty and Vienna.Ruthia Jenrbekova is an artist and researcher from Almaty, Kazakhstan. She holds an MA in ecology and works as an intermedia cultural organizer. She is co-founder of Kr\u00eblex zentre together with Maria Vilkovisky. She is currently a PhD candidate at the Academy of Fine Arts Vienna and lives and works in Almaty and Vienna. Her fields of interest: queer ecology, material semiotics, arts-based methodologies, transfeminism. Kr\u00eblex zentre is a paranormal art institution that builds on cultural traditions of intermixed planetary diasporas, develops inclusive aesthetics, and promotes queer cosmo-politics.This interview by poet and Sound Studies scholar Vadim Keylin took place from March to April 2024 via Google Docs and has been edited for clarity. Literature references were added during the editing process.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.2800315","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T03:12:15Z","timestamp":1743649935000},"source":"Crossref","is-referenced-by-count":0,"title":["Intermediality And Text-to-Sound Transmutations. Interview with Maria Vilkovisky and Ruthia Jenrbekova of kr\u00eblex zentre"],"prefix":"10.22501","author":[{"family":"Vadim Keylin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:29:39Z","timestamp":1784287779000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2800315\/2800316"}},"issued":{"date-parts":[[2025,4,3]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jss.2800315","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2025,4,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:36Z","timestamp":1784289996746,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","license":[{"start":{"date-parts":[[2018,6,29]],"date-time":"2018-06-29T00:00:00Z","timestamp":1530230400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,29]]},"abstract":"This sonic ethnography represents two years in an ongoing study in which urban elementary and middle grades students wrote songs about the science content they learned. Originally designed to examine whether processes of songwriting might help bridge race and gender gaps in science education for city kids, over time, this project has become what participating teachers and I refer to as \u201clistening to the sounds of science,\u201d a change that underscores the variety of sounds, ideas and ideals, and ways of knowing and being of the daily life of classrooms. Specifically, this piece focuses on two years in an urban fifth grade classroom. Here, the text supports the sounded portion of the piece, providing contextual information about process and participants. As such, this piece provides an opportunity to listen to how often marginalized students make sense, understandings, and experiences that are at once epistemological, ontological, and sensorial.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.290395","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:16Z","timestamp":1733131576000},"source":"Crossref","is-referenced-by-count":0,"title":["RESOUNDING SCIENCE: A SONIC ETHNOGRAPHY OF AN URBAN FIFTH GRADE CLASSROOM"],"prefix":"10.22501","author":[{"family":"Walter Gershon","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:41:16Z","timestamp":1784288476000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/290395\/290396"}},"issued":{"date-parts":[[2018,6,29]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.290395","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:36Z","timestamp":1784289936817,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","license":[{"start":{"date-parts":[[2020,8,17]],"date-time":"2020-08-17T00:00:00Z","timestamp":1597622400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2020,8,17]]},"abstract":"Bandeira do Brasil\u2014the Flag of Brazil\u2014is a ubiquitous, yet definitive icon that represents the nation of Brazil. Although many countries include astronomy on their flag, the Flag of Brazil is unique in that the astronomy represented on the flag depicts a specific moment in time: the exact minute that Brazil declared its independence. Each star represents a specific state, so moving from one star to another is effectively a virtual tour of the country. Order and Progress: a sonic segue across A Auriverde is an abstract audiovisual sojourn across the Flag of Brazil realized as a sonified and politicized astronomy show, evoking emotions and responses through the use of fantasy, mystery, exaggeration, distortion and parallelism.<\/jats:p>\n keywords: Celestial Soundcape, Flag of Brazil, Indigenous Languages<\/jats:p>","DOI":"10.22501\/jss.669742","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:17Z","timestamp":1733131577000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonifying the definitive Brazilian icon"],"prefix":"10.22501","author":[{"family":"Angelo Fraietta","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:37:59Z","timestamp":1784288279000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/669742\/669781"}},"issued":{"date-parts":[[2020,8,17]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/jss.669742","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2020,8,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977037,"version":"3.55.0"},"posted":{"date-parts":[[2026,6,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,6,5]],"date-time":"2026-06-05T00:00:00Z","timestamp":1780617600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Summer school 2026<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4103057","type":"posted-content","created":{"date-parts":[[2026,6,5]],"date-time":"2026-06-05T15:45:17Z","timestamp":1780674317000},"source":"Crossref","is-referenced-by-count":0,"title":["Summer school"],"prefix":"10.22501","author":[{"family":"Niels Raaijmakers","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:37Z","timestamp":1784282197000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4103057\/4103058"}},"issued":{"date-parts":[[2026,6,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4103057","published":{"date-parts":[[2026,6,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T10:08:13Z","timestamp":1784110093240,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jar","type":"journal","created":{"date-parts":[[2017,5,17]],"date-time":"2017-05-17T03:18:46Z","timestamp":1494991126000},"source":"Crossref","is-referenced-by-count":0,"title":["Journal for Artistic Research"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:28:53Z","timestamp":1784107733000},"score":0.0,"resource":{"primary":{"URL":"http:\/\/www.jar-online.net\/"}},"short-title":["Journal for Artistic Research"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}]},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001216,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Living Lexicon: Post-Interpretive Criticism \u2013 First EditionBy Dorian Vale Museum of One | Written at the ThresholdThe Living Lexicon is the official glossary of Post-Interpretive Criticism \u2014 a literary movement that displaces interpretation in favor of presence, restraint, and custodial witnessing. It is not written to standardize, but to protect. These entries are not mere definitions; they are ethical and poetic coordinates. From Threshold to Witness, from Stillmark to Felt Proof, the lexicon outlines the sacred vocabulary of a genre committed to reverence over reading, and presence over performance.This document anchors the critic\u2019s posture, language, and responsibility. It guides without fixing. It names without claiming. It orients those entering the terrain so they do not mistake silence for absence, or discipline for detachment. In a critical culture flooded with noise, The Living Lexicon restores the weight of words.Vale, Dorian. The Living Lexicon: Post-Interpretive Criticism \u2013 First Edition. Museum of One, 2025. DOI: doi.org\/10.5281\/zenodo.17111649Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.Post-Interpretive Criticism, Aesthetic Theory, Art Criticism, Philosophy of Art, Ethical Criticism, Literary Movements, Witnessing, Silence in Criticism, Contemporary Aesthetics, Poetic Philosophy, Witness, Threshold, Restraint, Stillmark, Hauntmark, Silence, Viewer-as-Evidence, Ethical Proximity, Custodianship This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Criticism and Reception Theory, Interpretation and Meaning, Visual Culture Studies, Epistemology of Art, Founder of Post-Interpretive Criticism, Dorian Vale, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/philpeople.org\/profiles\/dorian-vale, https:\/\/www.semanticscholar.org\/author\/Dorian-Vale\/2380743266, https:\/\/orcid.org\/0009-0004-7737-5094, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Canon of Witnesses, The Custodian\u2019s Oath, Art as Truth, Art as Presence, Interpretation vs. Witnessing, The Viewer as Evidence, Language as Custody, Museum of One Manifesto, Erasure as Afterlife, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Art and spirituality, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Interpretive Restraint, Witness over interpretation<\/jats:p>","DOI":"10.22501\/rc.3921608","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T09:31:31Z","timestamp":1759915891000},"source":"Crossref","is-referenced-by-count":0,"title":["The Living Lexicon: Post-Interpretive Criticism \u2013 First Edition"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:47Z","timestamp":1784282267000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921608\/3921607"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921608","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025367,"version":"3.55.0"},"posted":{"date-parts":[[2023,7,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,7,4]],"date-time":"2023-07-04T00:00:00Z","timestamp":1688428800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Territ\u00f3rios Expansivos \u00e9 o tema subjacente a um programa de atividades de investiga\u00e7\u00e3o art\u00edstica desenvolvido pela OSSO \u2013 Associa\u00e7\u00e3o Cultural, e coordenado por Diogo Alvim e Matilde Meireles desde janeiro de 2020. O programa culmina nesta publica\u00e7\u00e3o, um pequeno projecto editorial que procura estabelecer rela\u00e7\u00f5es entre diferentes perspectivas e modos de opera\u00e7\u00e3o em investiga\u00e7\u00e3o art\u00edstica, bem como entre diferentes institui\u00e7\u00f5es. Nela participam quatro artistas que foram convidados para desenvolver ensaios \u00e0 volta deste tema. A publica\u00e7\u00e3o foi acolhida em parceria editorial pela C\u00e1tedra UNESCO em Gest\u00e3o das Artes e da Cultura, Cidades e Criatividade do Instituto Polit\u00e9cnico de Leiria.Expansive Territories is the theme underlying a program of artistic research activities developed by OSSO \u2013 Associa\u00e7\u00e3o Cultural, and coordinated by Diogo Alvim and Matilde Meireles since January 2020. The program culminates in this publication, a small editorial project that seeks to establish relationships between different perspectives and modes of operation in artistic research, as well as between different institutions. Four artists were invited to develop essays around this theme. The publication was hosted as an editorial partnership by the UNESCO Chair in Arts and Culture Management, Cities and Creativity, Polytechnic Institute of Leiria.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1902048","type":"posted-content","created":{"date-parts":[[2023,7,4]],"date-time":"2023-07-04T05:16:19Z","timestamp":1688447779000},"source":"Crossref","is-referenced-by-count":0,"title":["Territ\u00f3rios Expansivos \/ Expansive Territories"],"prefix":"10.22501","author":[{"family":"Diogo Alvim","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Matilde Meireles","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-9122-1225","authenticated-orcid":false,"family":"teresa luzio","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-1073-4740","authenticated-orcid":false,"family":"Michael Schwab","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Sara Morais","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Joana Braga","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:24Z","timestamp":1784282364000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1902048\/1902049\/6752\/2719"}},"issued":{"date-parts":[[2023,7,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1902048","published":{"date-parts":[[2023,7,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,9,10]],"date-time":"2026-09-10T12:17:55Z","timestamp":1789042675010,"version":"build-2803163510"},"posted":{"date-parts":[[2026,7,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,7,3]],"date-time":"2026-07-03T00:00:00Z","timestamp":1783036800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"What is in-frame and what has been left out-of-frame? What is not present is yet ever present in its own ways. We capture, we record, we curated.. yet so much is encapsulated in what is not present, in what is absent, in this space in-between\u2026 an open space we explore and reclaim. This projects explores the imaginary space and in-betweenness that resides in this undefined space out-of-frame. Through curated sets of binaries, I seek to invite the audience to let delve into its own imaginary space to explore what is located in-between the scenes in-tension with one another. As visuals and sounds in this exposition are in tension with one another, my own thoughts are in dialogue with modernity and its machines. Building on an idea discussed by Stacey Stacks, the concept of \u2018Homo-Ludens\u2019 informed how I playfully engaged with the material produced. Over the past weeks, I have prompted AI engine Perplexity pro with multiple questions arising from my own work. How can we use AI to generate ideas in a creative process? The result is surprising at times, clich\u00e9s at others, but it offers many clues on potential directions. The log of my conversations with \u2018the machine\u2019 offers theoretical cues and a referential framework to this body of work. [#Prompts have been color coded in red. Machine generated answers in standard black text and concepts relevant to this exposition highlighted in green]. This dialogue in many ways can been as a exploratory lab for potential ideas.How can we bring to life the imaginary space located in-between images, bringing to life what is out-of-frame? How can the absence speak and contribute to the emotional impact of documentary work?<\/jats:p>\n keywords: documentary, New media, photographic practice, Spaces in between<\/jats:p>","DOI":"10.22501\/rc.3573739","type":"posted-content","created":{"date-parts":[[2026,7,3]],"date-time":"2026-07-03T14:48:01Z","timestamp":1783090081000},"source":"Crossref","is-referenced-by-count":0,"title":["Dialogue with the Machine: Reflections on the poetics of Absence"],"prefix":"10.22501","author":[{"family":"Gustaf Alexander \u00d6hrn","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,9,10]],"date-time":"2026-09-10T11:56:39Z","timestamp":1789041399000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3573739\/3573740"}},"issued":{"date-parts":[[2026,7,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3573739","published":{"date-parts":[[2026,7,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,8,21]],"date-time":"2026-08-21T12:24:21Z","timestamp":1787315061984,"version":"build-2736575974"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2020,12,29]],"date-time":"2020-12-29T00:00:00Z","timestamp":1609200000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,12,29]]},"abstract":"Through collaborative media arts practice we explore texture morphing soft robotics as an artistic medium of expression. We present an installation, Homo Viridis, that features a soft robotic interface developed to mediate signals between a vascular plant and a human body. The exposition paper discusses how Homo Viridis stages a situation of hybridity where individual, more-than-human subjectivities are mentally and physically intertwined. In conclusion, the paper reflects on how connecting organisms through soft robotic interfaces can actualize visions of a novel being - a \u2018posthuman entity\u2019. We argue that such a being might be physically composed of organic and synthetic elements that come together, but that it can also exist as a conceptual persona that may initiate discussions on what humans can become.<\/jats:p>\n keywords: Soft Robotics, Posthuman, wearable art, Media Arts, plants<\/jats:p>","DOI":"10.22501\/jar.549014","type":"journal-article","created":{"date-parts":[[2020,12,29]],"date-time":"2020-12-29T06:33:35Z","timestamp":1609223615000},"source":"Crossref","is-referenced-by-count":9,"title":["Soft Robotics and Posthuman Entities"],"prefix":"10.22501","author":[{"family":"Mads Bering Christiansen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Laura Beloff","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jonas J\u00f8rgensen","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Anne-Sofie Emilie Belling","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:06:55Z","timestamp":1784282815000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/549014\/605906\/50\/0"}},"issued":{"date-parts":[[2020,12,29]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jar.549014","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2020,12,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:02Z","timestamp":1784286422287,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2020,6,5]],"date-time":"2020-06-05T00:00:00Z","timestamp":1591315200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2020,6,5]]},"abstract":"Research question: How can the embodiment of gestures help me to increase my performance focus with the aim of eradicating meaningless gestures during singing, and is it possible to create a step-by-step study plan that incorporates my findings?Abstract: The goal of this research was to find a solution to my problem that my gestures don\u2019t always contribute to the lyric\u2019s meaning when I\u2019m singing. I was looking for a way to eradicate meaningless gestures. I carried out my research by examining the history of singing, scientific papers and articles regarding the connection between speech and gesture, and writings by experts in the field of acting, singing and body movement like Fajo Jansen, a body-movement teacher who helped help me analyse some of my old video recordings. I also used a questionnaire and created a study plan incorporating these findings, and recorded myself multiple times under the guidance of Fajo in order to test their efficacy. I discovered that a disruption in my performance-focus during singing was causing my gesticulation problems. By creating a deeper physical connection with a text\u2019s meaning, I sought to re-establish and strengthen this focus, which I tested with my study plan for the embodiment of gestures. My work with Fajo showed that, next to this approach, another layer should be added: namely, the body should feel grounded and experience a feeling of flow in order to create free gestures which contribute to a text\u2019s meaning. With Fajo, I concluded that by not only working on the embodiment of gestures but on the whole body as well, my gesticulation problem can be remedied more effectively.<\/jats:p>\n keywords: classical singer, gesturing, foreign language embodiment, Music Training Performance & Cognition<\/jats:p>","DOI":"10.22501\/koncon.544323","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:41:10Z","timestamp":1725907270000},"source":"Crossref","is-referenced-by-count":0,"title":["Gestures and their role in restoring a singer\u2019s performance-focus"],"prefix":"10.22501","author":[{"family":"Aim\u00e9e Hautvast","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:41:57Z","timestamp":1784284917000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/544323\/544324"}},"issued":{"date-parts":[[2020,6,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.544323","published":{"date-parts":[[2020,6,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:27Z","timestamp":1784283027607,"version":"3.55.0"},"posted":{"date-parts":[[2018,6,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2018,6,7]],"date-time":"2018-06-07T00:00:00Z","timestamp":1528329600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u2018Gatherings\u2019 are the second level of operation of the doctoral study \u2018Architecting Bodies by Immersive Gestures\u2019. The first level of operation is called \u2018responsive walking\u2019 and is of direct embodied immersion of the author\/learner\u2019s bodymind while looking for the mess in urban environments and adopting a micro-perspective by means of walking and embodied creation. The second level departs from the assumption that embodied immersions in mess by responsive walking are desettling and urge sense-making. By creating video-assemblages, performance-lectures and conversation pieces processes of embodied sense-making are explored. Thereby, the challenge is to avoid the pitfalls of quick dichotomic, hierarchic and disembodied understandings of bodymindly engaging with the environment. To resist slipping into these categories \u2013 that are so readily present when sense-making is discursively elaborated \u2013 the notion of \u2018pregnantness\u2019 and the notion of a \u2018propelling hypothesis\u2019 are proposed. The former is a bodymind state that allows to imaginatively presence not-yet and becoming significances of embodied engagements with environments. The latter is an operative design instrument that allows the responsive shifts in hypothesis to become the very mechanism of a form-giving practice that reflects whimsicalities and contingencies. In order to work towards \u2018pregnantness\u2019 and follow the \u2018propelling hypothesis\u2019, gatherings interweave autobiographical, fictional and referential voices (i.e. the work of others) through one another. Also different media (i.e. body, drawing, writing, photo, video, sound, animation, modelling), low-tech assembling and analogue-poetic thinking are put into action to bring more sensory, ephemeral, affective and imaginative aspects of bodymindly relating to the environment into account.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.465010","type":"posted-content","created":{"date-parts":[[2018,6,7]],"date-time":"2018-06-07T03:54:36Z","timestamp":1528343676000},"source":"Crossref","is-referenced-by-count":0,"title":["Gatherings"],"prefix":"10.22501","author":[{"family":"Alice De Smet","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:51Z","timestamp":1784282451000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/465010\/465011"}},"issued":{"date-parts":[[2018,6,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.465010","published":{"date-parts":[[2018,6,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001207,"version":"3.55.0"},"posted":{"date-parts":[[2025,6,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,6,19]],"date-time":"2025-06-19T00:00:00Z","timestamp":1750291200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This thesis presents the outcomes of my artistic research conducted as a master\u2019s student in the Improvisation and World Music Performance program at the Academy of Music and Drama, University of Gothenburg, Sweden. The present study investigates how a musical identity is constructed and reshaped over time, drawing from my background as a Brazilian singer, guitarist, and songwriter, and examining how exchanges with musicians from different fields and exposure to new artistic inputs can influence my creative practice. Central to the research is finding tools to broaden my expressive possibilities within the song format, through the integration of improvisation, diverse ensemble instrumentation, and inventive strategies for communicating artistic intentions and political concerns through music and stage performance. This work also explores possible approaches for overcoming creative blocks and performance-related fears, especially those related to improvisation, seeking to cultivate a state of freedom, openness, fulfillment and joy while playing.<\/jats:p>\n keywords: musical identity, intercultural contexts, Brazilian music, improvisation, communication, voice and guitar performance, songwriting, cantautora<\/jats:p>","DOI":"10.22501\/rc.3710562","type":"posted-content","created":{"date-parts":[[2025,6,19]],"date-time":"2025-06-19T06:18:47Z","timestamp":1750313927000},"source":"Crossref","is-referenced-by-count":0,"title":["Building Bridges, Exploring Identity: A Musical Journey of a Brazilian Cantautora in an Intercultural Context"],"prefix":"10.22501","author":[{"family":"Clara Gurj\u00e3o","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:04Z","timestamp":1784282284000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3710562\/3710563"}},"issued":{"date-parts":[[2025,6,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3710562","published":{"date-parts":[[2025,6,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:54Z","timestamp":1784286294213,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"Media scores\u2014expansion of musical notation that incorporate other modalities, particularly enabling interactive and generative elements\u2014have reshaped the relationships between composer, score, and performer. This essay examines nine distinct attributes of the media score that differentiate it from traditional notation. Through historical and contemporary examples, the discussion highlights how these attributes manifest in various artistic practices. Additionally, the author's own compositions are cited, with particular focus on Mutability, a large-scale collaborative project that highlights many of the elements discussed in the paper.<\/jats:p>\n keywords: media scores, meta, interactivity, visual scores, composition, mutability, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/koncon.3298908","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:23:39Z","timestamp":1779805419000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond Paper: Attributes of the Media Score"],"prefix":"10.22501","author":[{"family":"Yannis Kyriakides","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:20:27Z","timestamp":1784283627000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3298908\/3298909"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3298908","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:48Z","timestamp":1784286348974,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,7,13]],"date-time":"2023-07-13T00:00:00Z","timestamp":1689206400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,7,13]]},"abstract":"This research began with the realization that Schumann's idea of \"humor\" (which the title of his work implies) might be very different from our own, and should be understood within the cultural and philosophical context of his time.To this end, I decided to base my research on the writings of celebrated author Jean Paul Richter, whom Schumann idolized, and who devoted a large section of his \"Introduction to Aesthetics\" to the subject of humor; the profound psychological connections between Schumann and Jean Paul, which I point out, are also very revealing.I went on to summarize some concepts within Jean Paul's definition of humor which seemed the most naturally analogous with the act of musical interpretation, such as romantic irony, \"the Absurd\" and \"humorous sensuousness\". In the final part of the research I put these ideas to use by experimenting with the interpretation of different sections of the \"Humoreske\"; in the written exposition I provided recordings to demonstrate the different possibilities which arise from this analogy, as well as a written explanation of the thought process behind each one. For the presentation I will demonstrate this at the piano.These recordings are the \"final\" result of my research in the sense that they represent a clear answer to the research question. However, while the process of conscious experimentation was illuminating- and can be repeated with any other work by the composer!- I believe that the most important result of this research would be impossible to document or present here: that is, the more subtle, subconscious way in which understanding Schumann's connection with the spirit of his time will continue to influence my playing.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/koncon.393773","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:39Z","timestamp":1725906999000},"source":"Crossref","is-referenced-by-count":0,"title":["Interpretation of Schumann's 'Humoreske' in B flat major, op. 20, within the context of Jean Paul Richter's romantic concept of 'humor'"],"prefix":"10.22501","author":[{"family":"Elisha Kravits","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:29:46Z","timestamp":1784284186000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/393773\/580862"}},"issued":{"date-parts":[[2023,7,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.393773","published":{"date-parts":[[2023,7,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974035,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Canon of Witnesses: On Zarina Hashmi\u2019s Home Is a Foreign PlaceBy Dorian ValeIn this elegiac and piercing reflection, Dorian Vale inducts Zarina Hashmi into the Canon of Witnesses through her seminal work Home Is a Foreign Place. Rather than interpreting the piece, Vale engages it as a ritual of moral proximity\u2014where each word etched on handmade paper becomes a relic of memory, exile, and untranslatable grief. Zarina\u2019s restrained use of language, the materiality of her paper, and her refusal to perform trauma are treated here not as minimalist strategies, but as ethical gestures. The essay resists biographical reduction or historical summary and instead approaches the work as a sacred geography of loss\u2014one that cannot be decoded without doing harm. Drawing from the principles of Post-Interpretive Criticism, Vale positions Zarina not as an artist of silence, but as a custodian of what language can no longer hold. What remains is not narrative. What remains is presence. Vale, Dorian. Canon of Witnesses: On Zarina Hashmi\u2019s Home Is a Foreign Place. Museum of One, 2025. DOI: 10.5281\/zenodo.17072625This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)Zarina Hashmi, Home Is a Foreign Place, Post-Interpretive Criticism, Dorian Vale, art and exile, Urdu in art, trauma and memory in art, minimalism vs restraint, sacred aesthetics, witness-based art criticism, moral proximity, non-interpretive art writing, handmade paper in art, ethics of language in art, feminist art critique, contemporary South Asian art<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Visual Culture Studies, Epistemology of Art, Custodian of Witness Aesthetics, Aesthetic Philosopher, Art Writer and Theorist, Independent Philosopher of Art, Museum of One, Founder of Post-Interpretive Criticism, Dorian Vale, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Presence, Art as Truth, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, https:\/\/orcid.org\/0009-0004-7737-5094, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, Zarina Hashmi<\/jats:p>","DOI":"10.22501\/rc.3921660","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T15:29:27Z","timestamp":1759937367000},"source":"Crossref","is-referenced-by-count":0,"title":["Canon of Witnesses: On Zarina Hashmi's Home Is a Foreign Place"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:44Z","timestamp":1784282264000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921660\/3921659"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921660","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:06Z","timestamp":1784286426044,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,9,3]],"date-time":"2019-09-03T00:00:00Z","timestamp":1567468800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,9,3]]},"abstract":"Student Number3169227Supervisor(s)Andrew WrightTitleI'm Nobody, who am IResearch QuestionMy research question is too long for the form.SummaryEmily Dickinson's poetry can be hard to understand the first time you read it. How then can the artist communicate an Emily Dickinson poem in a song in a way that an audience grasps the meaning the first time? For that reason, you need to define who you are on stage and what you want to communicate. But what do you communicate on stage when your first sentence is 'I'm Nobody!'? This research turns Nobodies into Somebodies and the other way around by looking at the voices (the characters) that are present in the poems of Emily Dickinson, specifically the poem 'I'm Nobody!'. Who speaks to whom? The research makes a journey from Emily Dickinson to scholars who write about her, composers who make songs on her poems and in the end to the performer who with all these people in her mind communicates the poem and the song to the audience. Finally, the voices in the poem become defined as various characters that can be performed on different settings of 'I'm Nobody!' by Ernst Bacon, Nick Raspa and Lori Laitman. From something vague and ungraspable the poem and its voices become very concrete and close to our own daily lives.Short BioMezzo soprano Boukje started singing as soon as she could speak. After her Bachelor\u2019s in History at the Utrecht University, she decided that she wanted to explore as much as possible about singing. In 2017 she graduated from the Fontys Conservatory in Tilburg and started her Master's in the Royal Conservatoire. Currently, she studies with Catrin Wyn-Davies. Boukje performed as a soloist in different concerts. She sang, for example, the alto solos in Bach\u2019s St Matthew Passion, Haydn\u2019s Stabat Mater, Rossini's Petite Messe Solennelle and she sang the role of H\u00e4nsel in the staged opera of H\u00e4nsel und Gretel from Humperdinck.<\/jats:p>\n keywords: Emily Dickinson, Poetry, Characters, Singing<\/jats:p>","DOI":"10.22501\/koncon.529798","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:42:43Z","timestamp":1725907363000},"source":"Crossref","is-referenced-by-count":0,"title":["I'm Nobody, Who am I?"],"prefix":"10.22501","author":[{"family":"Boukje van Gelder","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:44:48Z","timestamp":1784285088000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/529798\/529799"}},"issued":{"date-parts":[[2019,9,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.529798","published":{"date-parts":[[2019,9,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:46Z","timestamp":1784290126209,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"09","license":[{"start":{"date-parts":[[2015,5,7]],"date-time":"2015-05-07T00:00:00Z","timestamp":1430956800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,5,7]]},"abstract":"In this Preludium we clarify the history and scope of The Memory Dealer (TMD), and the methods, ideas, and incentives behind the research presented in the current volume. As a new experimental, \u201cpervasive\u201d drama that exploits digital and personal technologies to create fictional narratives that are then layered onto real world spaces, TMD introduces new possibilities both for storytelling and for the positioning of the audience. As the articles in this volume bear witness to, TMD can be thought of as a new kind of \u201csound narrative\u201d; what remains the most direct experience of the drama is undoubtedly the soundtrack. As a novel soundworld prompting new responses \u2013 responses that can be explored and analyzed \u2013 TMD is a rare form of documentation that offers fertile ground for exploration.<\/jats:p>\n keywords: sound narrative, Pervasive drama, digital and personal technologies<\/jats:p>","DOI":"10.22501\/jss.149106","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:28Z","timestamp":1733131648000},"source":"Crossref","is-referenced-by-count":0,"title":["Preludium: The Memory Dealer"],"prefix":"10.22501","author":[{"family":"Nanette Nielsen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Elizabeth Evans","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:52:36Z","timestamp":1784289156000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/149106\/149107"}},"issued":{"date-parts":[[2015,5,7]]},"references-count":0,"journal-issue":{"issue":"09"},"URL":"https:\/\/doi.org\/10.22501\/jss.149106","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2015,5,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:52Z","timestamp":1784289892910,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"Report on a workshop facilitated by Grant Smith (Soundcamp) as part of the CENSE symposium Beyond Listening at MOME, Budapest 2023. The workshop covered building field transmitters (streamboxes) from kits, a recurring activity of the cooperative. Streamboxes have been developed collaboratively over time, including as part of the Acoustic Commons collaboration (2020-22), as tools for listening to remote places and situations. Applications include long term ecoacoustic art and research, contributions to the Reveil broadcast (2014-), and a variety of art and activist projects.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4301254","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:29:31Z","timestamp":1777987771000},"source":"Crossref","is-referenced-by-count":0,"title":["Streambox Building Workshop Report"],"prefix":"10.22501","author":[{"family":"grant smith","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:27:28Z","timestamp":1784287648000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4301254\/4301255"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4301254","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:02Z","timestamp":1784289902308,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2026,5,5]]},"abstract":"Kozmic Sounds is a long-term interdisciplinary art\u2013research project that investigates the sonic environment of the Opava River and the Kozmick\u00e9 louky wetlands. It is grounded in a sustained relationship with the site and in field research. Since 2022, it has taken the form of an annual festival\/symposium, based on new socio-cultural relationships and sensitive engagements with local soundscapes and sites. The text situates the area as an ecotonal, more-than-human landscape shaped by restoration and regulation, ownership structures, and conflicts surrounding nature conservation. Listening-beyond is understood as an ethical practice of attention, reciprocity, and care, developed through continuous listening from diverse technical and conceptual perspectives.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.4308623","type":"journal-article","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T13:28:05Z","timestamp":1777987685000},"source":"Crossref","is-referenced-by-count":0,"title":["Kozmic Sounds"],"prefix":"10.22501","author":[{"family":"Magdalena Manderlova","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Michal Kindernay","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:27:58Z","timestamp":1784287678000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4308623\/4308624"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jss.4308623","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2026,5,5]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:00Z","timestamp":1784369100220,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T00:00:00Z","timestamp":1749772800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,6,13]]},"abstract":"This article discusses four artworks that employ artificial intelligence (AI) as practice as research (PaR) by artist Garrett Lynch IRL. These are: I\u2019m not Garrett Lynch IRL \u2013 DoppelGANger Portraits (2021), a series of Generative Adversarial Network (GAN) portraits; TheLastStraw (2021\u201323), a performative generative artwork for social media; Flag for States of Damage (2018), a performative mixed-reality artwork for the web and The Traveller (2024), a four-channel video installation with artefacts.The objective of the works is two-fold. Firstly, each artwork\u2019s use of AI is distinct yet is intended to form part of a broad ongoing exploration of how networks can be transformative to art practice. The works maintain that AI is a form of network that enables emergence. Not the emergence of intelligence as defined in the field of AI, but instead in the context of art theory a manner in which artworks are expanded, extended or activated beyond their artist\/author defined forms. AI as a network is therefore defined as both the generative adversarial network, the input, employed in the formation of the work and the resulting network of artist, artwork and audience that emerges when a work is expanded, extended or activated. Secondly, instrumental in facilitating AI as a network is the use of language as a combined form of encoding and performative utterance (Austin, 2018). Building on a fundamental basis of computing that all digital media is reducible to language, code, and numbers as well as a basis of communication theory that language is a social construct, the works explore language as both form of representation and communication between human and machine. Language enables a process of folding (O\u2019Sullivan, 2005) or flipping (Sloan, 2012) of concepts, media and artefacts between \u2018virtual\u2019 and \u2018real\u2019 spaces, between digital and materialised forms.<\/jats:p>\n keywords: AI art, language, practice as research, networks, folding, encoding, transforming<\/jats:p>","DOI":"10.22501\/hub.3012435","type":"journal-article","created":{"date-parts":[[2025,6,13]],"date-time":"2025-06-13T06:39:43Z","timestamp":1749796783000},"source":"Crossref","is-referenced-by-count":0,"title":["Language in AI Art: Encoding, Folding and Transforming"],"prefix":"10.22501","author":[{"family":"Garrett Lynch IRL","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:22:52Z","timestamp":1784366572000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3012435\/3074347"}},"issued":{"date-parts":[[2025,6,13]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/hub.3012435","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2025,6,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026481,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T00:00:00Z","timestamp":1740873600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The theoretical wisdom of the Epic theater derives from the conceptual perspective of Bertolt Brecht toward communication and performing arts in \"Der Rundfunk als Kommunikationsapparat\" (1932). Brecht's version of the radio reminds the participatory politics in the internet, which he later theorizes for theatre-qua-critique of the aristotelian drama of binding the spectator to the fiction ideologically, in the vicious cycles of pre- learned codes, the traditional and phony wisdoms of clans and classes, where the mere potential for change is to turn into a \"petit bourgeois\".<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3468653","type":"posted-content","created":{"date-parts":[[2025,3,2]],"date-time":"2025-03-02T11:29:38Z","timestamp":1740914978000},"source":"Crossref","is-referenced-by-count":0,"title":["A Note on the Idea of Networks Like a Contrivance in Epic Theatre"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:19Z","timestamp":1784282299000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3468653\/3468652"}},"issued":{"date-parts":[[2025,3,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3468653","published":{"date-parts":[[2025,3,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977083,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T00:00:00Z","timestamp":1769299200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this article, Bob Selderslaghs presents a research project by the Royal Conservatoire of Antwerp and Fontys Academy of the Arts Tilburg on how teaching artists can strengthen their practice in an international, hybrid learning community. Through inspiring lectures, practical experiments and in-depth reflection, participants gained recognition for their practice, expanded their artistic-pedagogical repertoire and built valuable contacts. The project emphasises the power of flexible frameworks, embodied learning and sustainable networks for greater visibility and impact in this dynamic field.<\/jats:p>\n keywords: teaching artistry, hybrid, learning community, life long learning, community of practice<\/jats:p>","DOI":"10.22501\/rc.4080247","type":"posted-content","created":{"date-parts":[[2026,1,25]],"date-time":"2026-01-25T09:58:27Z","timestamp":1769335107000},"source":"Crossref","is-referenced-by-count":0,"title":["Teaching artists: acting locally, sharing globally"],"prefix":"10.22501","author":[{"family":"Bob Selderslaghs","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:16Z","timestamp":1784282236000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4080247\/4080246"}},"issued":{"date-parts":[[2026,1,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4080247","published":{"date-parts":[[2026,1,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:54Z","timestamp":1784283054559,"version":"3.55.0"},"posted":{"date-parts":[[2020,11,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,11,16]],"date-time":"2020-11-16T00:00:00Z","timestamp":1605484800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Dette er konsept 1 av v\u00e5r sansehage, den handler om lys<\/jats:p>\n keywords: ntnu, design, IDG2000, concept, prototype<\/jats:p>","DOI":"10.22501\/rc.1031190","type":"posted-content","created":{"date-parts":[[2020,11,16]],"date-time":"2020-11-16T11:33:14Z","timestamp":1605526394000},"source":"Crossref","is-referenced-by-count":0,"title":["Sansehage Konsept 1"],"prefix":"10.22501","author":[{"family":"Marius Skaten Aarbakke","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Deleted account 89","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Tyler Akselsen","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ida Emilie Viervoll","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ida Anemone Roland Berger","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:29Z","timestamp":1784282429000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1031190\/1031191"}},"issued":{"date-parts":[[2020,11,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1031190","published":{"date-parts":[[2020,11,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023062,"version":"3.55.0"},"posted":{"date-parts":[[2021,4,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,4,29]],"date-time":"2021-04-29T00:00:00Z","timestamp":1619654400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research was conducted to reveal a deeper understanding of my artistic practice that moves in between redefining my urban dance practice and an opening to ideas of contemporary choreography.Based on studio sessions, interviews and reflections and using a variety of modalities for documentation, this practice-led research expands my artistic practice, bringing in sources of inspiration from dance, pedagogy, sociology and philosophy.The main outcomes channeled into an emerging methodology that provides strategies to develop co-creative contemporary choreography.This methodology can serve diverse creative contexts that foster the wish to collaborate and be imaginative.Embedded in an upcoming artistic community of urban dance based choreographers this research seeks to define my space within the landscape of contemporary choreography.<\/jats:p>\n keywords: freestyle, choreography, practice-led research, collaboration, imagination<\/jats:p>","DOI":"10.22501\/rc.1229308","type":"posted-content","created":{"date-parts":[[2021,4,29]],"date-time":"2021-04-29T11:53:30Z","timestamp":1619697210000},"source":"Crossref","is-referenced-by-count":0,"title":["negotiating the space in between"],"prefix":"10.22501","author":[{"family":"Jonas Frey","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:14Z","timestamp":1784282414000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1229308\/1229229"}},"issued":{"date-parts":[[2021,4,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1229308","published":{"date-parts":[[2021,4,29]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:48Z","timestamp":1784286348985,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T00:00:00Z","timestamp":1687737600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"Taking the audience on a journey is always an important goal of mine while performing. My research was created not only to add to my knowledge but more importantly to my performance and my connection to the audience. Throughout my research I uncover the enigma of Bach as an inspiration for Hindemith. What connects these two composers living 200 years apart? How do we connect the \u2018new and modern\u2019 to the \u2018old and familiar\u2019? Is Hindemith in fact 'Bach with a modern twist'? By discovering the similarities and differences between Bach\u2019s 6th Cello Suite and Hindemith\u2019s Solo Sonata Op.25 No.1, through background research and putting their structure and harmony in relation to each other, a new world of interpreting both composers opened up to me. The research makes my performance more involved but also allows me to take the listener by the hand, guiding them through this more \u2018modern\u2019 music by Hindemith and his contemporaries such as Max Reger, by accompanying his music with Bach, and accompanying the music with short metaphorical stories highlighting the composers' similarities as well as different approaches. Engaging the audience, allowing them to open their ears and view the music in a new light.<\/jats:p>\n keywords: Art of Interpretation, audience, Bach<\/jats:p>","DOI":"10.22501\/koncon.1785090","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:51Z","timestamp":1725907011000},"source":"Crossref","is-referenced-by-count":0,"title":["Hindemith\u2019s Musical Enigmas Through the Eyes of Bach"],"prefix":"10.22501","author":[{"family":"Kaat Schraepen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:30:28Z","timestamp":1784284228000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1785090\/1785091"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1785090","published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:48Z","timestamp":1784289888406,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","license":[{"start":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T00:00:00Z","timestamp":1679270400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,3,20]]},"abstract":"Verena Miedl-Fai\u00dft (Center Research Focus, PhD candidate PhD in Art) invites us with \"Await what the stars will bring\" to walk through her artistic research trajectory. Her contribution poetically narrates on longings, and on beautiful and painful experiences in connection with her artistic practice and collaborative work with her nephew L. Based on Donna Haraway\u2019s concept of kinship, Miedl-Fai\u00dft searches for possibilities of relating to each other and seeks ways to make inner processes accessible. The contribution provides insights into her work with children and colleagues and how she creates \u201cmaterialized relations, co-creations objecting time, space, and loneliness.\u201d<\/jats:p>\n keywords: artistic research, autoethnography, Donna Haraway, kinship, children's participation, poetics, Poetic writing, artistic practice, subjectivization process, cocreation<\/jats:p>","DOI":"10.22501\/repos.1841013","type":"journal-article","created":{"date-parts":[[2023,3,20]],"date-time":"2023-03-20T06:39:27Z","timestamp":1679294367000},"source":"Crossref","is-referenced-by-count":0,"title":["Await what the stars will bring or moulding the gap"],"prefix":"10.22501","author":[{"family":"Verena Miedl-Fai\u00dft","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:26:31Z","timestamp":1784287591000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1841013\/1841014"}},"issued":{"date-parts":[[2023,3,20]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/repos.1841013","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2023,3,20]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:45Z","timestamp":1784283045110,"version":"3.55.0"},"posted":{"date-parts":[[2014,9,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2014,9,26]],"date-time":"2014-09-26T00:00:00Z","timestamp":1411689600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A complete overview of the artistic research conducted from 2006 to 2014<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.98462","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:54:42Z","timestamp":1498053282000},"source":"Crossref","is-referenced-by-count":0,"title":["Complete research 2006 2014"],"prefix":"10.22501","author":[{"family":"Massimo Pianese","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:04Z","timestamp":1784282464000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/98462\/98463"}},"issued":{"date-parts":[[2014,9,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.98462","published":{"date-parts":[[2014,9,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:47Z","timestamp":1784286527777,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"The exposition unpacks Vincent Roumagnac's \"Third-Ikebana\" series as an example of his theatre redirecting research practice. By staging traditional Ikebana arrangements using urban weeds, the project subverts conventional hierarchies of quality and value within scenographic, urban, and social contexts. The series thereby interrogates dominant aesthetic norms and their internalised distribution of agency, inviting a critical reevaluation of what constitutes value in both performance and urban environmental experience.Two modes of navigation are offered: a graphic version designed for computer screens, emphasizing the experiential dimension of the exposition, and a text-based format optimized for mobile reading, presented in a conventional article layout.<\/jats:p>\n keywords: theatre, city as stage, scenography, ikebana, ecology of practices, Contemporary art, artistic research<\/jats:p>","DOI":"10.22501\/ruu.3056725","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:06:21Z","timestamp":1777449981000},"source":"Crossref","is-referenced-by-count":0,"title":["Third-Ikebana"],"prefix":"10.22501","author":[{"family":"vincent roumagnac","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:00:38Z","timestamp":1784286038000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3056725\/3677833"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3056725","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:57Z","timestamp":1784289837906,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2018,3,16]],"date-time":"2018-03-16T00:00:00Z","timestamp":1521158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"This paper presents an exchange between four practitioners from distinct disciplines of site dance, philosophy, experimental writing and pedagogy. It presents responses to provocations that position these practices as containers of Situated Knowledge, it interrogates the transmission and reception of practical knowledge, and employs the notion of \u2018parasitic endeavor\u2019 as a lens through which to facilitate discussion of of how disciplinary specific practices and emerging knowledges might traverse from one discipline to another and how this knowledge might be articulated and communicated to wider audiences. Informed by Bennett\u2019s notions of \u2018vibrant matter\u2019 (2010), Barad\u2019s conception of agency and intra-action (2003), transversality (Guattari, 1964 and Dolphijn and van der Tuin, 2012) and J.J. Gibson\u2019s theory of affordances (1986) the paper explores how embodied knowledges become activated and mobilised through human-material-world intra-actions and how interdisciplinary engagements facilitate the articulation of such knowledges. The notion of parasitic endeavor employed here alludes to a temporal process in which theoretical paradigms from one discipline are employed within or applied in another for a required period of time to facilitate the articulation of complex intra-active and diffractive human-nonhuman entanglements.This paper seeks to show how distinct practices transmit knowledges beyond disciplinary boundaries. Each respondent will offer a \u2018score\u2019 to provoke and support intra-active practice. The score frames a set of instructions, rules or constraints for fellow authors to explore and reflect on their experiences in relation to their own, customary modes of \u2018doing\u2019 practice and research. For publication, each contributor will present a response to one or more of these scores, drawing on their own disciplinary methods and working practices to consider how the specificities of their discipline engage creatively with these alternate actions and actors.In this scenario the notion of \u2018parasitic endeavor\u2019 is positioned as prodigious and facilitatory; we move through and beyond disciplinary silos, borrow and compare, creating new theoretical and disciplinary entanglements, through which new\/augmented modes of thinking\/doing might emerge.<\/jats:p>\n keywords: Methods, embodiment, materials, situated knowledge, parasitic endeavor, collaboration.<\/jats:p>","DOI":"10.22501\/ruu.371804","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:57Z","timestamp":1538221797000},"source":"Crossref","is-referenced-by-count":0,"title":["Situated Knowledge, Transmissions of Practice and Parasitic Endeavors"],"prefix":"10.22501","author":[{"family":"Helen Palmer","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Victoria Hunter","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jessica Foley","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Karolina Kucia","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:17:11Z","timestamp":1784287031000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/371804\/371805"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.371804","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:43Z","timestamp":1784369083031,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T00:00:00Z","timestamp":1747267200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ntnu"],"published-print":{"date-parts":[[2025,5,15]]},"abstract":"This exposition contains the documentation of Espen Aalberg\u00b4s artistic research project \u201cEastern Rebellion - with gamelan as inspiration for new musical expressions\"\"Eastern Rebellion - with gamelan as inspiration for new musical expressions\" is focusing on a meeting point where Aalberg, as a musician and composer, has searched for inspiration in gamelan music, instruments, and concepts. Aalberg has a broad practice as a performer and composer\/music creator with a professional career in both jazz and classical-contemporary direction. This experience, in collaboration with inspiration and instruments from gamelan, will be illuminated in different musical expressions and contexts.<\/jats:p>\n keywords: artistic research, gamelan, cultural appropriation, orientalism, jazz, contemporary music, ntnu, PHkunst, phd, PhD Artistic Research, music, imu, hf<\/jats:p>","DOI":"10.22501\/ntnu.1257086","type":"journal-article","created":{"date-parts":[[2025,5,15]],"date-time":"2025-05-15T08:19:03Z","timestamp":1747297143000},"source":"Crossref","is-referenced-by-count":0,"title":["Eastern Rebellion - with gamelan as inspiration for new musical expressions"],"prefix":"10.22501","author":[{"family":"EAA","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Norwegian University of Science and Technology"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:04Z","timestamp":1784366404000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1257086\/1257087"}},"issued":{"date-parts":[[2025,5,15]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/ntnu.1257086","published":{"date-parts":[[2025,5,15]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:46Z","timestamp":1784369026882,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"7","license":[{"start":{"date-parts":[[2022,3,14]],"date-time":"2022-03-14T00:00:00Z","timestamp":1647216000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2022,3,14]]},"abstract":"This research, developed in Amsterdam during the repeated courses of lockdown between 2020 and 2022, examines the powers and limitations of fantasy. Processing the mental and ideological undercurrents in Europe, the text describes a trajectory where the visual artist appropriates the role of a poet to explore the possibilities for change and movement in isolation. As thinking, reading and writing alters the protagonist, the appropriating artist becomes appropriated by language. The gradual blending with the observed subjects raises questions about the distinction between the internal and external.<\/jats:p>\n keywords: Creative writings, Film, Sculpture, metamorphosis, dogs, animals, psychology, artistic research<\/jats:p>","DOI":"10.22501\/vis.1278261","type":"journal-article","created":{"date-parts":[[2022,3,14]],"date-time":"2022-03-14T08:04:41Z","timestamp":1647245081000},"source":"Crossref","is-referenced-by-count":0,"title":["Ta Form"],"prefix":"10.22501","author":[{"family":"Klara Waara","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:12:21Z","timestamp":1784365941000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1278261\/1278303"}},"issued":{"date-parts":[[2022,3,14]]},"references-count":0,"journal-issue":{"issue":"7"},"URL":"https:\/\/doi.org\/10.22501\/vis.1278261","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2022,3,14]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:49Z","timestamp":1784369089989,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,14]],"date-time":"2023-06-14T00:00:00Z","timestamp":1686700800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Artistic research is a comparatively recent development. Outside institutional definitions little work has been carried out to situate the phenomenon in a wider history of art as well as knowledge. This speculative article describes the present moment of artistic research as result of two developments: (1) a shift from notions of knowledge to notions of research, and (2), a shift from major to minor forms of making. At the same time, in line with understandings of contemporary art and as contemporary art, artistic research is not understood as historical project that unifies art and science; rather, artistic research is pitched as providing a transdisciplinary ground in which different disciplines and knowledges can enrich each other. On a historical scale, this development is seen as driven by the increased speed and complexity of our current world for which conventional knowledges offers only partial insights arriving often too late for decision-making. Building on Hans-J\u00f6rg Rheinberger\u2019s concept of experimental systems and his notion of graphematic space, the paper suggests research to create sets of traces as proto-forms underdetermined in their aesthetic and epistemic status and, hence, beyond specific disciplinary contexts. Such space for research is understood as fundamentally artistic, also in opposition to notions of research as output-oriented types of investment. It is suggested that representation as epistemic form has been losing relevance, certainly for the arts and increasingly for the sciences. Artists are tasked to invent new, expositional forms of knowledge over and beyond representation to remain epistemically engaged in today\u2019s fast and complex world.<\/jats:p>\n keywords: artistic research, Contemporary art, contemporaneity, art, science, transdiciplinarity, epistemology, aesthetics, expositionality, graphematic space<\/jats:p>","DOI":"10.22501\/hub.2190234","type":"posted-content","created":{"date-parts":[[2023,6,21]],"date-time":"2023-06-21T10:41:52Z","timestamp":1687344112000},"source":"Crossref","is-referenced-by-count":1,"title":["Contemporary Research"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-1073-4740","authenticated-orcid":false,"family":"Michael Schwab","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:59Z","timestamp":1784366459000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2190234\/2190235"}},"issued":{"date-parts":[[2023,6,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/hub.2190234","published":{"date-parts":[[2023,6,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:16Z","timestamp":1784368996739,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T00:00:00Z","timestamp":1729555200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2024,10,22]]},"abstract":"The Archeologist\u2019s Gaze presents and reflects on a project on the restoration of ancient tapestries, following the award of a research grant to TAMAT (Museum of Tapestry and Textile Arts, Tournai, Belgium) in 2020-2021. After immersing herself in the museum's restoration workshop, looking for images, words, materials and gestures, Paternostre turned her attention to the reverse side of the tapestry. Studying the scraps of thread that had fallen to the floor, her vision of the tapestry was turned upside down, and the little bits of thread that gradually was picked up from the ground became the focus of the research. These details bore traces of many hands that had restored and repaired the tapestry over the centuries and told a story of care and attention, the inseparable opposite of monumental tapestries and mythical tales.<\/jats:p>\n keywords: memory, Contemporary art, history, tapestry, Archeology, restoration, Conservation, care, trace, heritage, drawing<\/jats:p>","DOI":"10.22501\/vis.2977170","type":"journal-article","created":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T14:48:18Z","timestamp":1729608498000},"source":"Crossref","is-referenced-by-count":0,"title":["The Archeologist's Gaze"],"prefix":"10.22501","author":[{"family":"Jehanne Paternostre","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:08:33Z","timestamp":1784365713000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2977170\/2977235"}},"issued":{"date-parts":[[2024,10,22]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/vis.2977170","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2024,10,22]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:16Z","timestamp":1784365876098,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,9,15]],"date-time":"2023-09-15T00:00:00Z","timestamp":1694736000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2023,9,15]]},"abstract":"Michal Nietyksza's Artistic Research Dissertation (Master)<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.2056198","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:08:14Z","timestamp":1727179694000},"source":"Crossref","is-referenced-by-count":0,"title":["CELIUM \"The aesthetic of electronic dance music in a band setting \""],"prefix":"10.22501","author":[{"family":"Michal Jerzy Nietyksza","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:59:39Z","timestamp":1784365179000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2056198\/2090488"}},"issued":{"date-parts":[[2023,9,15]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2056198","published":{"date-parts":[[2023,9,15]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:37Z","timestamp":1784369077797,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T00:00:00Z","timestamp":1640822400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2021,12,30]]},"abstract":"Taking my compositions as a point of departure, the project investigates the improvisers\u2019 co-creation in the compositional process. The composer (in this case, me) explores how improvisers\u2019 ideas can be integrated into the development of the compositions, and explores what impact the integration has on the works of art. In the project, graphic scores are being designed, through the means of which I am seeking to bring forth new aesthetic forms of expressions. Along the way in this project, I have created new compositions that came to be drawn out as scores, which were continually adapted and re-arranged on the basis of the improvising musicians\u2019 concert performances of the existing compositions. The working method could be characterized as an iterative artistic developmental process, which shuttled back and forth between my own compositional work, together with the design and elaboration of the graphic scores, and videotaped rehearsals and performances of my compositions with the collaborating musicians.<\/jats:p>\n keywords: graphical notation, Graphic score, improvisation, saxophone, experimental composition, Experimental music, RMC staff<\/jats:p>","DOI":"10.22501\/rmc.1021743","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T05:43:04Z","timestamp":1737524584000},"source":"Crossref","is-referenced-by-count":0,"title":["Composition of graphic and sonic works through the improvisers' co-creation"],"prefix":"10.22501","author":[{"family":"Laura Toxvaerd","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:19:14Z","timestamp":1784366354000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1021743\/1021744"}},"issued":{"date-parts":[[2021,12,30]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/rmc.1021743","published":{"date-parts":[[2021,12,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:09Z","timestamp":1784290089831,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2015,10,28]],"date-time":"2015-10-28T00:00:00Z","timestamp":1445990400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,10,28]]},"abstract":"Drawing on micro-temporal media archaeology paired with object-oriented ontology, this paper will develop new ideas regarding non-human conceptualizations of sounding media, memory, time, and sound objects. Studying the way in which music machines collect and store auditory data enables us to get closer to the inner functioning and self-reflections of our sounding apparatuses, creating alternative perspectives on mediated representation and the various temporal processes unfolding within technology. Thus an interweaving of object-oriented ontology and media archaeology is unfolded, taking its starting point in a practical engagement with electro-magnetic recording devices which execute what could be described as applied ontology, something that generates awareness of the moment when media themselves become active archaeologists of knowledge.<\/jats:p>\n keywords: object-oriented ontology, media archaeology, carpentry, memory, time, object-oriented ontology, media archeology, carpentry, memory, time<\/jats:p>","DOI":"10.22501\/jss.219290","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:04Z","timestamp":1733131624000},"source":"Crossref","is-referenced-by-count":0,"title":["Where are the Ears of the Machine? Towards a sounding micro-temporal object-oriented ontology"],"prefix":"10.22501","author":[{"family":"Morten Riis","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:51:40Z","timestamp":1784289100000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/219290\/219291"}},"issued":{"date-parts":[[2015,10,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jss.219290","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2015,10,28]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:07Z","timestamp":1784365867415,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T00:00:00Z","timestamp":1753747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,7,29]]},"abstract":"I denne mastergradsavhandlingen unders\u00f8ker jeg gjennom kunstnerisk utviklingsarbeid hvordan stilelementer fra norsk folkemusikk kan benyttes som utgangspunkt for \u00e5 utvikle nye, pianobaserte komposisjoner. Arbeidet tar utgangspunkt i erfaringer gjort i min egen kunstneriske praksis. Avhandlingen baserer seg p\u00e5 to nye komposisjoner, hvor jeg tar for meg ett folkemusikalsk prinsipp i hver \u2013 asymmetrisk takt i Telebound og variabilitet i H\u00f8stsl\u00e5tt. Disse er utgangspunktet for to casestudier som bygger p\u00e5 praktisk skapende arbeid, dokumentasjon av prosess, og refleksjon og analyse av de kunstneriske resultatene. Det overordnede m\u00e5let har v\u00e6rt \u00e5 finne ut hvordan disse prinsippene kan oversettes til min egen musikalske kontekst, og hvordan de har p\u00e5virket komposisjonsprosessen, produksjonen og resultatet.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.3596175","type":"journal-article","created":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:30:24Z","timestamp":1753788624000},"source":"Crossref","is-referenced-by-count":0,"title":["Folkpiano"],"prefix":"10.22501","author":[{"family":"Lars Jakob Rudjord","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:57:43Z","timestamp":1784365063000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3596175\/3596176"}},"issued":{"date-parts":[[2025,7,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.3596175","published":{"date-parts":[[2025,7,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:51Z","timestamp":1784286291720,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2012,11,5]],"date-time":"2012-11-05T00:00:00Z","timestamp":1352073600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2012,11,5]]},"abstract":"In this exposition we describe and theorize the evolution of an artistic enquiry entitled Playing the Spiral Jetty. This is accomplished in four parts. In part one we present our understanding of play as research methodology. Then, in part two we narrate and contextualize our encounter of the exhibition Contemporary Masters, an installation of an 18-hole, artist-designed, miniature golf course. In part three we elaborate our improvisations and conceptualizations of Playing the Spiral Jetty. Finally, in part four, we conclude with a theorization of play enacted in our performance. Play, as action and reaction, becomes a non-deterministic tactic or strategy for rethinking and redirecting understandings of and engagements with art. As a research enquiry, play is integrally linked to art making and as such, a way of knowing. The medial space in which play and subsequently art occupy create opportunities for novel ontological understandings.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.2387","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T04:48:40Z","timestamp":1492404520000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing the Spiral Jetty"],"prefix":"10.22501","author":[{"family":"Juan Carlos Castro","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Daniel T. Barney","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:18:28Z","timestamp":1784283508000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2387\/2388"}},"issued":{"date-parts":[[2012,11,5]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/jar.2387","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2012,11,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:38Z","timestamp":1784283038699,"version":"3.55.0"},"posted":{"date-parts":[[2022,3,29]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T00:00:00Z","timestamp":1648512000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"'quiet citadel' is a site-specific, participatory music project that examines music-making and the purposes that music can serve. I made 'quiet citadel' as part of the Hinge Arts Residency with Springboard for the Arts. They describe the fellowship as a community development program that activates arts programming related to the historic Fergus Falls State Hospital, or \"the Kirkbride.\" Presented in four sections, this exposition offers a case study of how I instrumentalized my music-making and music-sharing to assist the residents of Fergus Falls, a small town in rural Minnesota, in determining what to do with the disused Fergus Falls State Hospital, or \"the Kirkbride.\" All told, this exposition provides an example of using music as a research method for the purposes of collectively imagining the future of a community asset.<\/jats:p>\n keywords: Participatory Art, Site-specific, Applied Arts, Field recording, Music workshop, Graphic score, Ambient<\/jats:p>","DOI":"10.22501\/rc.1472161","type":"posted-content","created":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T09:50:27Z","timestamp":1648547427000},"source":"Crossref","is-referenced-by-count":0,"title":["quiet citadel"],"prefix":"10.22501","author":[{"family":"Ryan Evans","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:53Z","timestamp":1784282393000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1472161\/1472162"}},"issued":{"date-parts":[[2022,3,29]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1472161","published":{"date-parts":[[2022,3,29]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,9,7]],"date-time":"2026-09-07T08:08:26Z","timestamp":1788768506202,"version":"build-2803163510"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T00:00:00Z","timestamp":1756339200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2025,8,28]]},"abstract":"This exposition contains documentation of the artistic result of Magnhild \u00d8en Nordahls artistic research PhD project Unmaking Abstractions. The exposition also contains the artistic reflection for the same project. On the exposition's landing page the reader can access its different components by clicking different sides of the unfolded cube. The rotating cube in the upper right corner will bring the reader back to the landing page.<\/jats:p>\n keywords: KMD_Grieg, KMD_PhD<\/jats:p>","DOI":"10.22501\/kmd-ar.2836324","type":"journal-article","created":{"date-parts":[[2025,8,28]],"date-time":"2025-08-28T09:08:05Z","timestamp":1756372085000},"source":"Crossref","is-referenced-by-count":0,"title":["Unmaking Abstractions"],"prefix":"10.22501","author":[{"family":"Magnhild Nordahl \u00d8en","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic 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modulaci\u00f3n de materia\""],"prefix":"10.22501","author":[{"given":"Laura","family":"Olalde","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2024,11,5]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:40Z","timestamp":1742292220000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/es\/4-preguntas-laura-olalde-creo-que-no-existe-investigacion-artistica-sin-modulacion-de-materia"}},"issued":{"date-parts":[[2024,11,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0072","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2024,11,5]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:12Z","timestamp":1742294412600,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic 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Arts"],"prefix":"10.22501","author":[{"given":"Kirke","family":"Kangro","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Oliver","family":"Laas","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Madis","family":"Luik","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,7,15]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:05Z","timestamp":1742292185000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/phd-vitamin-estonian-academy-arts"}},"issued":{"date-parts":[[2020,7,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0032","published":{"date-parts":[[2020,7,15]]}},{"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T10:15:39Z","timestamp":1648808139591},"reference-count":0,"publisher":"Society for Artistic 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in the Global East: A Book with (Pro)Positions from Lithuania"],"prefix":"10.22501","author":[{"given":"Vytautas","family":"Michelkevi\u010dius","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2018]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:53Z","timestamp":1742292173000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/artistic-research-global-east-book-propositions-lithuania"}},"issued":{"date-parts":[[2018]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0015","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2018]]}},{"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T14:24:07Z","timestamp":1648823047952},"posted":{"date-parts":[[2018,6,21]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.297588","type":"posted-content","created":{"date-parts":[[2018,6,10]],"date-time":"2018-06-10T15:21:08Z","timestamp":1528644068000},"source":"Crossref","is-referenced-by-count":0,"title":["Crafting Context: An Inquiry into the Art of Curating Music Performance"],"prefix":"10.22501","author":[{"family":"Imogen Cooney","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2018,6,21]],"date-time":"2018-06-21T17:59:53Z","timestamp":1529603993000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/297588\/478640"}},"issued":{"date-parts":[[2018,6,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.297588","published":{"date-parts":[[2018,6,21]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:12Z","timestamp":1784369112578,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"15","license":[{"start":{"date-parts":[[2026,7,14]],"date-time":"2026-07-14T00:00:00Z","timestamp":1783987200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,7,14]]},"abstract":"This short essay offers a perspective on multispecies improvisation through a transdisciplinary approach that brings together posthuman theories, new materialism, dark ecology, object-oriented ontology and critical studies of improvised music. More specifically, it analyzes the improvisational practice involving both human elements and plant species, using as a case study my work as a sound artist and improviser in the theatrical performance Pezzo a due con dieci piante, created by the collective conferenza balaam. In this performance, music emerges through improvisation, as I interact with the vegetal component using a synthesizer, an electric bass and a sensor.Working on this performance has brought to light numerous ethical and ontological questions regarding interspecies relationships on stage. It is evident that the performance is conceived by humans for other humans in an environment seemingly controlled by humans. However, the agency of plant species and technology, especially during musical improvisations, has a strong impact on the performance, to the point of potentially redirecting it, like a true \u201cperformance bug\u201d (Masini 2024) of vegetal origin. The non-human presence seems to haunt the performance, revealing an unsettling aspect of the non-human, one that challenges the very concept of nature (Morton 2007).How does the presence of plants in the improvisational process alter your perception of the improviser's role compared to a performance with only human musicians? What social implications does this aspect carry? Improvisation becomes an experience through which it is possible to engage with the uncanny nature of the non-human and to find new ways to co-inhabit it (Tsing 2015), embracing precarity and \u201cstaying with the trouble\u201d (Haraway 2016).<\/jats:p>\n keywords: improvised music, plants music, dark ecology, post-humanism, improvisation, object-oriented ontology<\/jats:p>","DOI":"10.22501\/artact.3755641","type":"journal-article","created":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:33:31Z","timestamp":1784108011000},"source":"Crossref","is-referenced-by-count":0,"title":["Negotiating the Stage with Plants: Improvised Music and Other-Than-Human Hauntings"],"prefix":"10.22501","author":[{"family":"Barbierato Leonardo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:25:40Z","timestamp":1784366740000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3755641\/3755642"}},"issued":{"date-parts":[[2026,7,14]]},"references-count":0,"journal-issue":{"issue":"15"},"URL":"https:\/\/doi.org\/10.22501\/artact.3755641","published":{"date-parts":[[2026,7,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:56Z","timestamp":1784289836115,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2018,8,29]],"date-time":"2018-08-29T00:00:00Z","timestamp":1535500800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,8,29]]},"abstract":"Toteutin \"The Laundry Case\" performanssin Taideyliopiston Teatterikorkeakoulussa pidetyss\u00e4 SAR -konferenssissa huhtikuussa 2017. Performanssissani pohdin ihmisen ja materian mahdollisuutta tasa-arvoisuuteen esityksess\u00e4 uusmaterialistisessa viitekehyksess\u00e4. T\u00e4ss\u00e4 artikkelissa avaan esityksen prosessia ja siihen liittyvi\u00e4 kysymyksi\u00e4.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.365813","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:00Z","timestamp":1538221740000},"source":"Crossref","is-referenced-by-count":0,"title":["Pyykki\u00e4 - N\u00e4k\u00f6kulmia uusmaterialismiin ja performanssiin"],"prefix":"10.22501","author":[{"family":"Pilvi Porkola","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:15:47Z","timestamp":1784286947000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/365813\/382106"}},"issued":{"date-parts":[[2018,8,29]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/ruu.365813","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,8,29]]}},{"indexed":{"date-parts":[[2026,7,16]],"date-time":"2026-07-16T14:15:04Z","timestamp":1784211304511,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0099","type":"journal-article","created":{"date-parts":[[2026,7,16]],"date-time":"2026-07-16T13:55:52Z","timestamp":1784210152000},"source":"Crossref","is-referenced-by-count":0,"title":["Operational Vectors"],"prefix":"10.22501","author":[{"given":"Joaquin","family":"Macedo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","published-online":{"date-parts":[[2026,6,26]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2026,7,16]],"date-time":"2026-07-16T13:55:52Z","timestamp":1784210152000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.jar-online.net\/en\/node\/2425"}},"issued":{"date-parts":[[2026,6,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0099","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2026,6,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:19Z","timestamp":1784283019582,"version":"3.55.0"},"posted":{"date-parts":[[2024,12,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,12,11]],"date-time":"2024-12-11T00:00:00Z","timestamp":1733875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the \u2018walkies\u2019 as a co-authored act of \u2018making\u2019 or \u2018performing\u2019 together.As part of the practice based element of my PhD thesis, Deep Canine Topography, 10 - 10 - 10 Edge-lands, is a further investigation of the methodologies of Deep Canine Topography (O'Brien & O'Brien 2018). This series operates as a visual and sonic essay for each walk and explores memory, deep topographical imprints, and entropy between wild and post-industrial spaces and sub-urban sprawl, on the edge of the city of Leicester and the county of Leicestershire. During the 2020 Covid 19 pandemic lockdown, as part of permitted exercise, we undertook 10 Walks, of up to 10 miles, within a 10 mile circle of our home, just outside of the city centre. Covid 19 restrictions, remained in place in Leicester longer than in any other UK city or region.Each title will take you to a different walk.Click return to return to the title page.Click Base Map to open a GoogleMap of the walk locations and GPS tracklogs (in a new window).Clicking on the round MAP circle, on the title page, will take you to the central exposition of my PhD: Deep Canine Topography.<\/jats:p>\n keywords: physchogeography, art, landscape, landscape photography, carthography, animal studies, counter cartography<\/jats:p>","DOI":"10.22501\/rc.930702","type":"posted-content","created":{"date-parts":[[2024,12,11]],"date-time":"2024-12-11T07:23:45Z","timestamp":1733901825000},"source":"Crossref","is-referenced-by-count":0,"title":["10 - 10 - 10 Edgelands:"],"prefix":"10.22501","author":[{"family":"O'Brien & O'Brien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:29Z","timestamp":1784282309000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/930702\/930703"}},"issued":{"date-parts":[[2024,12,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.930702","published":{"date-parts":[[2024,12,11]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024222,"version":"3.55.0"},"posted":{"date-parts":[[2020,10,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,10,1]],"date-time":"2020-10-01T00:00:00Z","timestamp":1601510400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The research of March-August 2020 approaches environment and society as constantly in-formation, while one is opening one\u2019s eyes upon them, always a participant of them.The research was led by:-rigorous practice of observing, adapting and dancing \u2018out in the open\u2019.Seeking to uncover the dance that has the sizzling, restless feeling, the butterflies in the stomach. Dance that would primordially reveal connections between elements and in such way uncover the possibilities of experiencing what they are. Polyrhythms, joining consonant and dissonant were there as the access points.-reading Tim Ingold and diving into the understanding of the world that is worldling, that is changing as the weather does.-reading Contact Quarterly Contact Improvisation Source book, perceiving these meetings of letters as a platform that encourages to think around the power and various facets of contact; that inspires to build by staying in dialogue.-weaving webs of sharing one\u2019s doings with other artists - staying in dialogue in the form of letters and calls. With: mentor of the research Stephen Batts and the very inspiring colleagues Christine Quoiraud, R\u016bta Junevi\u010di\u016bt\u0117, Hanna Kritten Tangsoo, Magdalena Meindl, Lyllie Rouvi\u00e8re, Forough Fami, Iivy Meltaus and others. Last to mention the exchange that happened without my prior understanding with Giedr\u0117 \u0160mitien\u0117 who at that time was researching relations through the letters of poet Janina Degutyt\u0117.<\/jats:p>\n keywords: Climate, Environment, dance, Choreography, choreography and performance, contact improvisation<\/jats:p>","DOI":"10.22501\/rc.1003168","type":"posted-content","created":{"date-parts":[[2020,10,1]],"date-time":"2020-10-01T03:01:15Z","timestamp":1601521275000},"source":"Crossref","is-referenced-by-count":0,"title":["Standing on Earth"],"prefix":"10.22501","author":[{"family":"Gr\u0117t\u0117 \u0160mitait\u0117","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:31Z","timestamp":1784282431000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1003168\/1003169"}},"issued":{"date-parts":[[2020,10,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1003168","published":{"date-parts":[[2020,10,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948902,"version":"3.55.0"},"posted":{"date-parts":[[2026,5,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T00:00:00Z","timestamp":1777593600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Commedia Dell\u2019arte is a theatrical form which flourishes in 16th century Italy, which is characterised by its stock archetype characters. Each characters represents a certain passion which needs to be clearly understood by the audience from their voices, since facial expressions are limited due to the mask. A certain characteristics then needs to be implemented in their vocal expression to achieve this understanding.<\/jats:p>\n keywords: kcpedia<\/jats:p>","DOI":"10.22501\/rc.4397887","type":"posted-content","created":{"date-parts":[[2026,5,1]],"date-time":"2026-05-01T07:01:22Z","timestamp":1777618882000},"source":"Crossref","is-referenced-by-count":0,"title":["Commedia Dell\u2019arte : The Voice Behind The Mask"],"prefix":"10.22501","author":[{"family":"Fira Ariono","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:42Z","timestamp":1784282202000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4397887\/4397886"}},"issued":{"date-parts":[[2026,5,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4397887","published":{"date-parts":[[2026,5,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950929,"version":"3.55.0"},"posted":{"date-parts":[[2024,7,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,7,6]],"date-time":"2024-07-06T00:00:00Z","timestamp":1720224000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Doof Beeld deals with interdisciplinary collaboration and how multisensory perception affects the appreciation of art. These themes are explored through several thought experiments and a discussion of the collaborations between John Cage & Merce Cunningham, and Richard D. James & Chris Cunningham.<\/jats:p>\n keywords: scriptie<\/jats:p>","DOI":"10.22501\/rc.2927118","type":"posted-content","created":{"date-parts":[[2024,7,6]],"date-time":"2024-07-06T17:31:27Z","timestamp":1720287087000},"source":"Crossref","is-referenced-by-count":0,"title":["Doof Beeld (Deaf Image)"],"prefix":"10.22501","author":[{"family":"Tijs Ham","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:41Z","timestamp":1784282321000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2927118\/2927119"}},"issued":{"date-parts":[[2024,7,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2927118","published":{"date-parts":[[2024,7,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:02Z","timestamp":1784283002382,"version":"3.55.0"},"posted":{"date-parts":[[2021,11,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,11,4]],"date-time":"2021-11-04T00:00:00Z","timestamp":1635984000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This doctoral project research investigates the relations between visual arts and artificial intelligence. A great weight is given to the concept of autonomy, as some kind of Holy Graal of cybernetics: the creation of entities that can fend off for themselves, like robots, autonomous cars or artificial software agents. As such, the project has the current working title of \u201cPoetics of Autonomy\u201d. But this concept is also dear to the arts. Much has been written and discussed on the potential for autonomy within the art object, and how much modernism and conceptual art has changed it. My concern at this exhibition was to understand the tools AI offers for visual arts and issues they might convey. I also address the concept of autonomy from a perspective of the post-human, or the cyborg. What art can be done from an apocalyptic perspective? When no humans are left on the planet, could there be something left that continues to create art? And what kind of serendipity can be created - or at least simulated - with the current state of AI?The exhibition took place at the Hietsun Pavilion in Helsinki, from the 1st to the 30th July, 2021<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1408828","type":"posted-content","created":{"date-parts":[[2021,11,4]],"date-time":"2021-11-04T12:19:13Z","timestamp":1636028353000},"source":"Crossref","is-referenced-by-count":0,"title":["Singular"],"prefix":"10.22501","author":[{"family":"Bruno Caldas Vianna","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:59Z","timestamp":1784282399000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1408828\/1408829"}},"issued":{"date-parts":[[2021,11,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1408828","published":{"date-parts":[[2021,11,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030982,"version":"3.55.0"},"posted":{"date-parts":[[2024,4,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,4,3]],"date-time":"2024-04-03T00:00:00Z","timestamp":1712102400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"SPECTRUM Utilizzo immagini che richiamano strutture ossee e fossili come simboli di ci\u00f2 che \u00e8 stato, frammenti di un'esistenza passata che raccontano storie silenziose. Le impronte e le tracce lasciate sulla terra evocano il movimento e la vita di un tempo, mentre la stratificazione del terreno rappresenta il sedimentarsi del tempo stesso.Come un archeologo che scava tra le rovine, dissotterro le memorie sepolte, riportando alla luce frammenti di storie dimenticate. I resti che emergono assumono nuove forme e significati, creando un dialogo tra passato e presente.Nelle mie opere, la materia diventa veicolo di memoria, assumendo una carica emotiva e simbolica. La resina, le plastiche e il colore si trasformano in reperti archeologici di un'epoca immaginaria, invitando lo spettatore a riflettere sulla caducit\u00e0 della vita e sulla persistenza del ricordo.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2665211","type":"posted-content","created":{"date-parts":[[2024,4,3]],"date-time":"2024-04-03T17:31:36Z","timestamp":1712165496000},"source":"Crossref","is-referenced-by-count":0,"title":["SPECTRUM-LO SPETTRO"],"prefix":"10.22501","author":[{"family":"Francesco Straface","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:49Z","timestamp":1784282329000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2665211\/2665212"}},"issued":{"date-parts":[[2024,4,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2665211","published":{"date-parts":[[2024,4,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:08Z","timestamp":1742294408298,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0064","type":"journal-article","created":{"date-parts":[[2023,10,21]],"date-time":"2023-10-21T07:02:52Z","timestamp":1697871772000},"source":"Crossref","is-referenced-by-count":0,"title":["WHAT DO YOU DO WHEN YOU DO WHAT YOU DO? the act of researching"],"prefix":"10.22501","author":[{"given":"Se\u00e7il","family":"Yersel","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Mika","family":"Hannula","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2023,10,19]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:29Z","timestamp":1742292209000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/what-do-you-do-when-you-do-what-you-do-act-researching"}},"issued":{"date-parts":[[2023,10,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0064","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2023,10,19]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:28Z","timestamp":1784368948341,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2020,12,22]],"date-time":"2020-12-22T00:00:00Z","timestamp":1608595200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2020,12,22]]},"abstract":"This exposition reflects on several performances by the authors that aimed to re-imagine selectedpieces by Debussy in the centenary year of his death. More particularly, it considers some issues andimplications arising from performing the composer\u2019s music for piano(s) on modern digitalinstruments, specifically the Nord Stage 3 keyboards (2017). The exposition focuses primarily on thesecond movement of En blanc et noir, although the composer\u2019s version of Pr\u00e9lude \u00e0 l&#39;apr\u00e8s-midi d&#39;unfaune for two pianos and the solo prelude \u201cVoiles\u201d are also considered. The authors propose thatexploring this pivotal music from the Western and Modernist traditions on digital instruments allowsit to be presented and heard in new ways, thereby expanding our perception and experience of it.Several video-recorded performances of these pieces are provided. An outline of Debussy\u2019s ownpreferences concerning instruments is offered, together with some brief comments on his broaderaesthetics, our perspective being that our versions remain congruent with underlying aspects ofboth of these.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.1081430","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T08:14:37Z","timestamp":1684743277000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond black and white"],"prefix":"10.22501","author":[{"family":"Bernard Lanskey","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Stephen Emmerson","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:02:59Z","timestamp":1784365379000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1081430\/1081431"}},"issued":{"date-parts":[[2020,12,22]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1081430","published":{"date-parts":[[2020,12,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:57Z","timestamp":1784283057446,"version":"3.55.0"},"posted":{"date-parts":[[2020,2,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,2,5]],"date-time":"2020-02-05T00:00:00Z","timestamp":1580860800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Play in the format of the philosophical dialogue, 2019Drama is pretense. But, unlike fiction, a theatrical play is not a pretended representation of a state of affairs; rather it is the pretended state itself, in which the actors pretend to be the characters doing the pretending in the actual performance of the theatrical play. The actor is in this way irrealised in the character. Aside from writing the play, which consists largely in pseudo assertions, the playwright gives the actors directions on how to pretend to make assertions and to perform actions. Therefore, the playwright is writing a recipe for pretense. Instead of pretending to write assertions, the playwright gives directions to the actors on how to enact a pretense.The philosophical dialogue has been an established, although uncommon, method of philosophical writing, which usually deploys fictional characters to present a discussion between several divergent viewpoints on a topic of ordinary or philosophical interest. The juxtaposition and debating of opinions in ordinary uses of language, without prioritizing any opinion, endows the dialogue with open-endedness instead of conclusiveness. As McKeon (in Prince, 1996: 3) argues:\"Dialogue is statement and counterstatement, based on ordinary ways of life and ordinary uses of language, with no possible appeal to a reality beyond opposed opinions except through opinions about reality. Truth is perceived in perspective, and perspectives can be compared, but there is no overarching inclusive perspective.\"In this exposition, I exploit the dialogic format to expose the views of Jean-Paul Sartre, a well known philosopher and father of the existentialist philosophical and literary movement, and Maurice Blanchot, a rather obscure philosopher of literature and literary critic. Notably, both Sartre and Blanchot were active in the post second world war period, which significantly shaped their philosophical insights; specifically on modes of writing, including fictional prose, about a variety of topics, from politics, to ethics and aesthetics. Because referencing is rarely used in philosophical dialogues, here I employ full bibliographical referencing in the end. The dialogue presents an advantage for reaching a wider readership, beyond the confines of those with strictly philosophical and academic interests.Prince, Michael, \"Philosophical Dialogue in the British Enlightenment: Theology, Aesthetics and the Novel\", Cambridge: Cambridge University Press, 1996.<\/jats:p>\n keywords: existential philosophy, performing arts, Literature<\/jats:p>","DOI":"10.22501\/rc.787709","type":"posted-content","created":{"date-parts":[[2020,2,5]],"date-time":"2020-02-05T16:06:05Z","timestamp":1580918765000},"source":"Crossref","is-referenced-by-count":0,"title":["Rehearsal for A Play in Two Acts"],"prefix":"10.22501","author":[{"family":"Zoe Panagiota (aka Betty) Nigianni","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:36Z","timestamp":1784282436000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/787709\/787710"}},"issued":{"date-parts":[[2020,2,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.787709","published":{"date-parts":[[2020,2,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026473,"version":"3.55.0"},"posted":{"date-parts":[[2025,4,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,15]],"date-time":"2025-04-15T00:00:00Z","timestamp":1744675200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"O presente ensaio visa fomentar uma discuss\u00e3o acerca da intersec\u00e7\u00e3o entre a arte, a espiritualidade e a imigra\u00e7\u00e3o, temas que se revelam not\u00f3rios nas express\u00f5es culturais contempor\u00e2neas sociais e pessoais. Mais concretamente, analisa-se a forma como a artista navega na sua identidade e experi\u00eancia, abordando quest\u00f5es sociais e reflex\u00f5es pessoais sobre a experi\u00eancia do imigrante.Os elementos contidos nesta obra incluem pe\u00e7as de alum\u00ednio gravadas com sigilos de amor e m\u00e3os de cer\u00e2mica com olhos nas palmas. Os olhos remetem para a M\u00e3o de F\u00e1tima, um s\u00edmbolo de prote\u00e7\u00e3o, mas as m\u00e3os tamb\u00e9m evocam as chagas em pessoas de cor, sugerindo um v\u00ednculo com experi\u00eancias hist\u00f3ricas de dor e sofrimento. Ao evidenciar as cicatrizes de pessoas que realmente viveram essas feridas, esta obra incorpora uma dimens\u00e3o de mem\u00f3ria e resist\u00eancia.Este ensaio \u00e9 um registo de hist\u00f3rias e mem\u00f3rias pessoais na produ\u00e7\u00e3o art\u00edstica, inserido na investiga\u00e7\u00e3o do doutoramento em Artes Pl\u00e1sticas da Universidade do Porto.------------------------------------------------------------------------------------------The present essay seeks to stimulate a discourse on the confluence of art, spirituality and immigration, themes that have become increasingly prevalent in contemporary cultural expressions, both social and personal. Specifically, it will analyse how the artist navigates her identity and experience, addressing social issues and personal reflections on the immigrant experience.The elements of the installation include aluminium pieces engraved with love sigils and ceramic hands with eyes in their palms. The eyes refer to the hand of Fatima, a symbol of protection, but the hands also evoke the wounds on the hands of people of colour, suggesting a link with historical experiences of pain and suffering. By highlighting the scars of people who have actually experienced these wounds, this work incorporates a dimension of memory and resistance.This essay is a register of personal stories and memories in artistic production, as part of the research for a PhD in Plastic Arts at the University of Porto.<\/jats:p>\n keywords: sigil, artistic research, decolonization, magick, migrants, migration<\/jats:p>","DOI":"10.22501\/rc.3499204","type":"posted-content","created":{"date-parts":[[2025,4,15]],"date-time":"2025-04-15T10:59:21Z","timestamp":1744714761000},"source":"Crossref","is-referenced-by-count":0,"title":["Sigilos de amor e de Chagas\/Sigils of Love and Sores"],"prefix":"10.22501","author":[{"family":"Carolina Albuquerque","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:12Z","timestamp":1784282292000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3499204\/3499205"}},"issued":{"date-parts":[[2025,4,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3499204","published":{"date-parts":[[2025,4,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:07Z","timestamp":1784286247391,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T00:00:00Z","timestamp":1512864000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,12,10]]},"abstract":"'Systems of Pain\/Networks of Resilience' is a creative exploration of observation and entanglement as tools for negotiating pain. Research on ecology, restoration, and psychology creates a series of videos, images, and performances. How do personal networks of resilience overcome systems of pain, both in human perspectives, and in ecologies? The project explores commonalities in the context of divisive cultural politics.Artist Meghan Moe Beitiks begins her research with personal interviews. She discusses processes of recovery with people with both personal and professional experiences of trauma and recovery, including an ecological restoration specialist, an animal behaviourist, several survivors of abusive relationships, and many others. Clips from the interviews become the basis for visual and material explorations, generating videos, installations, and images. Stigma and prejudice emerge as barriers to healing \u2013 acceptance, observation, and listening, as common tools to accelerate it.This compilation takes components of Beitiks\u2019s research and arranges them within their own system of exploration. Observers\u2019 perceptions of the work are both assisted and disrupted by audio descriptions. Originally intended to make the works accessible to non-sighted audiences, the descriptions also serve as an exploration of observation and objectivity. A seemingly unrelated pine wallpaper appears to have been unfairly categorised as \u201cmasculine,\u201d prompting further questions about categorisation and labelling, as well as depictions of nature. Beitiks\u2019s presence and movement in the work is described as androgynous, their body taking on the narratives described in the interview clips. Boundaries between various disciplines and narratives disappear\u2014we instead experience the labour of connecting disparate entities, despite the limits of our own perceptions.<\/jats:p>\n keywords: trauma, recovery, resilience, systems, networks, pain, ecology, sustainability, performance, video, interviews, Meghan Moe Beitiks<\/jats:p>","DOI":"10.22501\/jar.286506","type":"journal-article","created":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T17:26:39Z","timestamp":1512926799000},"source":"Crossref","is-referenced-by-count":0,"title":["Systems of Pain\/Networks of Resilience (First Compilation)"],"prefix":"10.22501","author":[{"family":"Meghan Moe Beitiks","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:35Z","timestamp":1784283095000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286506\/286507"}},"issued":{"date-parts":[[2017,12,10]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jar.286506","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2017,12,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:34Z","timestamp":1784286274454,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2015,8,31]],"date-time":"2015-08-31T00:00:00Z","timestamp":1440979200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2015,8,31]]},"abstract":"This project investigates the coexistence of and the correlation between the inhabitants within my apartment building, using artistic practices and my own lived experience. These everyday spaces form the primary interface between the individual and the larger social entity of the city. Consciously, or partly unknowingly, one interacts with others through spatial demarcations, using embedded spatial devices (such as squeaking floorboards, peepholes, mailboxes, etc.) that project life and the presence of other people through sound, light, or matter. Most of these devices are partly unintended, often serve other practical functions, and go unnoticed \u2013 but nevertheless hold a latent spatial potential for a recalibration of the social dimension of the city and an architecture to come. This exposition features a combination of photography, 3D laser scans, and creative writing, followed by a written account of the practice.<\/jats:p>\n keywords: architecture, social coexistence, peephole camera, photography, cities, space design, 3D scanning, infraordinary, critical spatial practices, urbanism, creative writing, apartment building, socio-spatial dimension<\/jats:p>","DOI":"10.22501\/jar.99363","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T14:52:53Z","timestamp":1492440773000},"source":"Crossref","is-referenced-by-count":0,"title":["Hinges of correlation: Spatial devices of social coexistence"],"prefix":"10.22501","author":[{"family":"Espen Lunde Nielsen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:14:52Z","timestamp":1784283292000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/99363\/99364\/0\/100"}},"issued":{"date-parts":[[2015,8,31]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/jar.99363","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2015,8,31]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:35Z","timestamp":1784282975897,"version":"3.55.0"},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In 2006, together with a group of collaborators, representatives from two Cape Town-based performance companies with connections to the University of Cape Town, I set out to create a production on the history of slavery at the Cape. The production, Cargo, was first produced as part of the Spier Arts Summer Season in March 2007 in Stellenbosch and then at the National Festival of the Arts in Grahamstown and the Baxter Theatre in Cape Town later that year. Cargo is the fourth part of a series of productions based on \u2018key sites of memory\u2019 in and around the city of Cape Town. The term is taken from Pierre Nora (1989) and refers to a conglomerate of physical, material and archival sites that function to concentrate remembrance in a world in which, to paraphrase James E. Young, the more we monumentalize, the more we seem to have \u201cdivested ourselves of the obligation to remember\u201d (2000: 94). In making each of the works in the series, my collaborators and I faced two fundamental and interconnected problems related to the themes of time and silence: How to find an appropriate image in the present for something that has past and how to make the archive speak in unspeakable ways. The productions were created through a dramaturgical process based on the idea of \u2018dwelling\u2019 borrowed from the anthropologist Tim Ingold (2000) based on a question posed by Heidegger on the difference between \u2018building\u2019 and \u2018dwelling\u2019 (1971).<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.7669","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:15Z","timestamp":1497983835000},"source":"Crossref","is-referenced-by-count":0,"title":["Cargo: Dwelling in the Archive of Slavery at the Cape"],"prefix":"10.22501","author":[{"family":"Mark Fleishman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:23Z","timestamp":1784282183000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/7669\/7670"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.7669","published":{"date-parts":[[2011,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977034,"version":"3.55.0"},"posted":{"date-parts":[[2026,4,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T00:00:00Z","timestamp":1776729600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A Philosophical Departure from Post-CriticismBy Dorian Vale\u2014 A Treatise in the Post-Interpretive MovementA Philosophical Departure from Post-Criticism is a pivotal treatise that distinguishes Dorian Vale\u2019s Post-Interpretive Criticism (PIC) from the broader and more diffuse field of Post-Criticism. Where Post-Criticism often aims to relax or abandon evaluative frameworks, Vale\u2019s work insists on restraint, reverence, and ethical responsibility in the act of reading art. This departure is not merely stylistic\u2014it is ontological. Post-Criticism, as commonly practiced, often flattens interpretation into ambivalence, collapsing the critic\u2019s task into a commentary of gestures. By contrast, Post-Interpretive Criticism is a call to presence over analysis, silence over spectacle, and custodianship over commentary. In this treatise, Vale dissects the shortcomings of Post-Criticism\u2014its lack of moral proximity, its addiction to cleverness, its occasional nihilism\u2014and presents Post-Interpretive Criticism as a re-sacralization of the critic\u2019s role. It is a return to witnessing as method, anchored not in detachment, but in moral and metaphysical alignment with the unspeakable truths embedded in art. This work is a formal clarification of genre boundaries, philosophical ethics, and aesthetic posture. It enshrines Post-Interpretive Criticism as a new discipline, separate from\u2014and more rigorous than\u2014the interpretive loosening that preceded it. Vale, Dorian. A Philosophical Departure from Post-Criticism. Museum of One, 2025. DOI: 10.5281\/zenodo.17057756 Dorian Vale, Post-Interpretive Criticism, Post-Criticism, philosophy of art, ethics of criticism, witness-based aesthetics, moral proximity, silent criticism, aesthetic restraint, art theory treatise, post-structural criticism, new art movements, metaphysical aesthetics, art and presence, slow criticism, reverent art writing, non-performative critique, theory of witnessing, art and ontology, contemporary aesthetic movements, departure from postmodernism This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Art as Ontology, Custodianship of Art, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, https:\/\/www.museumofone.art\/, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Canon of Witnesses, The Custodian\u2019s Oath, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4375521","type":"posted-content","created":{"date-parts":[[2026,4,21]],"date-time":"2026-04-21T20:27:40Z","timestamp":1776803260000},"source":"Crossref","is-referenced-by-count":0,"title":["A Philosophical Departure from Post-Criticism [1 - 2026-04-21 22:26]"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:43Z","timestamp":1784282203000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4375521\/4375520"}},"issued":{"date-parts":[[2026,4,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4375521","published":{"date-parts":[[2026,4,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:39Z","timestamp":1784282979301,"version":"3.55.0"},"posted":{"date-parts":[[2025,12,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T00:00:00Z","timestamp":1765497600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exhibition is deeply rooted in local history\u2014the artist group explores the story of the white pigment titanium dioxide's industrial origin in Sandbekk, and how this world sensation from 1910 has influenced our world today. Titanium dioxide white pigment is a global color phenomenon. Ilmenite is transported from Titania to its sister company Kronos Titan in Fredrikstad, where it is refined into titanium dioxide. From there, the pigment circulates seemingly invisibly in a global network of systems. It is used in paint, plastics, paper, ink, cosmetics, medicine, sunscreen, and millions of products we use daily. This history is the starting point for the development project TiO2: The Materiality of White. Over the past two years, the artist group has visited Titania's mines and deposits, gathering materials from the local history. Just as geologists examined the areas in Sokndal over 150 years ago in search of valuable minerals, the group has wandered through the landscape, picking stones and collecting sand, clay, and rust-colored earth. These findings have been brought back to the ceramic laboratory at KhiO, where they have been processed through ceramic methods.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4048825","type":"posted-content","created":{"date-parts":[[2025,12,12]],"date-time":"2025-12-12T11:35:13Z","timestamp":1765539313000},"source":"Crossref","is-referenced-by-count":0,"title":["Hidden Stone"],"prefix":"10.22501","author":[{"family":"Marte Johnslien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:27Z","timestamp":1784282247000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4048825\/4048826"}},"issued":{"date-parts":[[2025,12,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4048825","published":{"date-parts":[[2025,12,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996827,"version":"3.55.0"},"posted":{"date-parts":[[2023,7,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,7,1]],"date-time":"2023-07-01T00:00:00Z","timestamp":1688169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Practice as\/is Research project<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2214781","type":"posted-content","created":{"date-parts":[[2023,7,1]],"date-time":"2023-07-01T14:44:38Z","timestamp":1688222678000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring the Gap in Research"],"prefix":"10.22501","author":[{"family":"Jennifer Harman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:24Z","timestamp":1784282364000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2214781\/2214782"}},"issued":{"date-parts":[[2023,7,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2214781","published":{"date-parts":[[2023,7,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:50Z","timestamp":1784283050902,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.The pandemic saw a centralized collapse of systems including healthcare, education, governance, etc. Similarly, the health insurance sector faced the burden of the pandemic especially in the second wave.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1282728","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T02:47:53Z","timestamp":1622688473000},"source":"Crossref","is-referenced-by-count":0,"title":["Collapsing of health insurance and mediclaims, new state policies"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:11Z","timestamp":1784282411000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282728\/1282729"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282728","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T14:13:47Z","timestamp":1779804827793,"version":"3.53.1"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"This study examines the sense of amazement provoked by an encounter with a singular historical instrument and seeks to articulate the mechanisms underlying that experience, demonstrating how close engagement with such objects can deepen our understanding of eighteenth-century musical practice. It begins by analysing the psychological and embodied response to playing the 1737 harpsichord by Antoine Vater \u2013 an instrument largely unknown in modern scholarship prior to this investigation \u2013and proceeds to examine the intellectual process of accounting for its seemingly ethereal qualities through detailed organological study. Drawing on original organological research and also the work of the instrument-restorer, collector, and researcher Michael Thomas, it will bridge subjective observations on the sounding qualities of this instrument and empirical organological analyses. In doing so, it aims to understand what such an object may teach us about the level of workmanship and musical sensitivity of eighteenth-century builders and players, and how we may harness their wisdom as musicians today.<\/jats:p>\n keywords: harpsichord, historically informed performance, organology, Clavecin<\/jats:p>","DOI":"10.22501\/koncon.3319826","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:55:47Z","timestamp":1779803747000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cLust und Liebe Zum Dinge macht alle arbeit geringe\u201d: aural-tactile dialogues with the Antoine Vater harpsichord of 1737"],"prefix":"10.22501","author":[{"family":"Tetsu Isaji","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:55:48Z","timestamp":1779803748000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3319826\/3319825"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3319826","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:49Z","timestamp":1784289829044,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T00:00:00Z","timestamp":1577750400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,12,31]]},"abstract":"This exposition is part of my PhD thesis that discusses the possibilities of building approaches in museological institutions, based on specific case studies that were visited and problematized during the study. The result is an experimental inventory of possibilities for critical action in these legitimating spaces of art and history - with an interest in the decoding of their discourses and strategies, revealing their power games, explicit or implicit, and often moving in the opposite direction to their procedures.<\/jats:p>\n keywords: institutional criticism, intellectual emancipation, museums, art systems, visual arts., visual arts<\/jats:p>","DOI":"10.22501\/ruu.571956","type":"journal-article","created":{"date-parts":[[2019,12,31]],"date-time":"2019-12-31T05:39:07Z","timestamp":1577770747000},"source":"Crossref","is-referenced-by-count":0,"title":["Ways of Visiting: non-traditional and peripheral approaches to museums"],"prefix":"10.22501","author":[{"family":"Bruno Moreschi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:12:53Z","timestamp":1784286773000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/571956\/571957"}},"issued":{"date-parts":[[2019,12,31]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/ruu.571956","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,12,31]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:54Z","timestamp":1784282994677,"version":"3.55.0"},"posted":{"date-parts":[[2023,3,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,3,27]],"date-time":"2023-03-27T00:00:00Z","timestamp":1679875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A LIST OF NIKOS KOKOLAKIS's WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY (March 2023). A list of Nikos Kokolakis's works, including instruments of the oboe family, was published for the first time, after a personal interview with the composer Nikos Kokolakis about his works, in the frame of a Ph.D. research, about Hellenic (Greek) Oboe Repertoire, of the Ph.D. candidate: Christos Tsogias-Razakov.<\/jats:p>\n keywords: oboe, English horn, catalogue, greek, Composer, Ensemble, composition, contemporary music, visual art<\/jats:p>","DOI":"10.22501\/rc.2052031","type":"posted-content","created":{"date-parts":[[2023,3,27]],"date-time":"2023-03-27T12:52:16Z","timestamp":1679921536000},"source":"Crossref","is-referenced-by-count":0,"title":["A LIST OF NIKOS KOKOLAKIS WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY."],"prefix":"10.22501","author":[{"family":"Christos Tsogias-Razakov","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:39Z","timestamp":1784282379000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2052031\/2052030"}},"issued":{"date-parts":[[2023,3,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2052031","published":{"date-parts":[[2023,3,27]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:59Z","timestamp":1784282999522,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Absential Aesthetics TheoryOn Ghosts, Absence, and the Afterlife of ArtA Complete Theoretical Framework by Dorian ValeWhat happens to a work of art after it disappears \u2014 and why does it linger?In this seminal treatise, Dorian Vale unveils the full theoretical scaffolding of Absential Aesthetics, a core pillar of the Post-Interpretive Movement. This framework reconceives absence not as a void to be filled, but as a residue that haunts, instructs, and remains.Drawing from metaphysical inquiry, trauma studies, and post-structural aesthetics, Vale argues that absence is not the opposite of presence \u2014 it is a continuation of it. From lost artifacts and sealed objects to erased histories and unspeakable memories, this theory reframes absence as aesthetic substance. The missing becomes legible through its consequences, not its form.Across three theoretical movements \u2014 Erasure, Afterlife, and Hauntmark \u2014 Vale introduces critical constructs such as The Aesthetic Ghost, Negative Presence, and Lingering Witness. These ideas challenge visual primacy, proposing that what art does after it vanishes may be more ethically potent than what it does when it is seen.Absential Aesthetics Theory is not a speculative musing \u2014 it is a structured philosophy of art\u2019s most elusive force: what remains after it is no longer there. A vital contribution to contemporary art theory, this treatise opens a door for curators, critics, and philosophers who seek to engage art not just through its objecthood, but through its departure. Vale, Dorian. Absential Aesthetics Theory: On Ghosts, Absence, and the Afterlife of Art A Complete Theoretical Framework. Museum of One, 2025. DOI: 10.5281\/zenodo.17052070 Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)Absential Aesthetics, Dorian Vale, Post-Interpretive Criticism, theory of absence in art, aesthetic ghosts, art afterlife, disappearance in art, witness and erasure, trauma and aesthetics, art and memory, aesthetic haunting, art as residue, invisibility in art theory, negative presence, art criticism and absence, disappearance as ontology, art of the unseen, sacred erasure, ethics of loss in art, non-object based aesthetics, hauntmark theory, afterlife of the artwork<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.3921603","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T09:16:26Z","timestamp":1759914986000},"source":"Crossref","is-referenced-by-count":0,"title":["Absential Aesthetics Theory: On Ghosts, Absence, and the Afterlife of Art A Complete Theoretical Framework"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:47Z","timestamp":1784282267000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921603\/3921602"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921603","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030387,"version":"3.55.0"},"posted":{"date-parts":[[2024,8,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,8,30]],"date-time":"2024-08-30T00:00:00Z","timestamp":1724976000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A big challenge and mission of this meta-times we live in, is making sense of what is going on when everything is so drastically accelerated. We belong to a strcture of manifested order that we dont understand, so we feel lost and fall in the trap of replicating certain dynamics that are more and more clearly \"misleading\".How much we open to flexible and various understandings of life, of time, of mater, will bring us more or less capacities to evolve and move beyond the paradigms that rule our minds, emotions, bodies, and spirits...My bet is that Art can also be a social tool that can allow cohesion and regeneration as it can bring together different material or ethereal realms, perspectives, affections, etc, representing or potrayng an interacting and overlapping whole that can be grasped and used by US as an expanded way to perceive and interact with reality...<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2667725","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T11:36:31Z","timestamp":1725536191000},"source":"Crossref","is-referenced-by-count":0,"title":["Togetherness as Planetary Rule: a multilayered coalescent existance."],"prefix":"10.22501","author":[{"family":"PoL Manterani...","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:39Z","timestamp":1784282319000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2667725\/2667726"}},"issued":{"date-parts":[[2024,8,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2667725","published":{"date-parts":[[2024,8,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:57Z","timestamp":1784283057439,"version":"3.55.0"},"posted":{"date-parts":[[2019,10,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,10,30]],"date-time":"2019-10-30T00:00:00Z","timestamp":1572393600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I stipendiatprosjektet \"Mineraler og naturfenomener \u2013 kunstneriske uttrykk gjennom regelbasert forskning \" har Katrine K\u00f8ster Holst unders\u00f8kt hvordan keramisk kunst kan utvikles gjennom teknikker som tar i bruk naturens grunnleggende prinsipper for formdannelse. Unders\u00f8kelsene er bygget p\u00e5 mange \u00e5rs erfaring innen det keramiske fagfelt. Sentrale sp\u00f8rsm\u00e5l har v\u00e6rt: Hvordan vokser, forflyttes og forsvinner landformer gjennom langsomme naturlige prosesser som eksempelvis erosjon, sedimentering og forvitring? Hvilke forhold binder en forms kjerne til sin overflate? Hva handler min emosjonelle tilknytning til leiren og landskapet om?<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.590895","type":"posted-content","created":{"date-parts":[[2019,10,30]],"date-time":"2019-10-30T03:54:29Z","timestamp":1572407669000},"source":"Crossref","is-referenced-by-count":0,"title":["\"Mineraler og naturfenomener \u2013 kunstneriske uttrykk gjennom regelbasert forskning \""],"prefix":"10.22501","author":[{"family":"Katrine K\u00f8ster Holst","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:44Z","timestamp":1784282444000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/590895\/628932"}},"issued":{"date-parts":[[2019,10,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.590895","published":{"date-parts":[[2019,10,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:57Z","timestamp":1784282997880,"version":"3.55.0"},"posted":{"date-parts":[[2026,4,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T00:00:00Z","timestamp":1776643200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Costume Agency Artistic Research Project project researches the agency of costume in performance and how costume can generate or be a centre of gravitation in performance.The research in Costume Agency is primarily approached in workshops led by costume designers, which pursue the vision embedded in the garment. The workshop format follows a set of dogma: It involves four designers and four performers for ten days of rehearsals, over a period of twelve days of explorations, dialogue and development. Through the project, twenty-one sketches for possible performances, where costume performs, were generated. The project ran from August 2018 till August 2023. The main researchers are Christina Lindgren (Oslo National Academy of the Arts) and Sodja Lotker (Academy of Performing Arts in Prague), as well as PhH-candidate Sally Elizabeth Dean.The team were convenors of Critical Costume 2020 Conference and Exhibition, with the theme Costume Agency. Costume Agency is supported by the Norwegian Artistic Research Program (NARP\/ DIKU\/ KH-dir) and Oslo National Academy of the Arts. (KHIO).<\/jats:p>\n keywords: costume, costume generated performances, material agency, performing arts, artistic research, scenography, New Materialism<\/jats:p>","DOI":"10.22501\/rc.2323560","type":"posted-content","created":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T18:47:06Z","timestamp":1776710826000},"source":"Crossref","is-referenced-by-count":0,"title":["Costume Agency Artistic Research Project"],"prefix":"10.22501","author":[{"family":"Christina Fossaas Lindgren","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:45Z","timestamp":1784282205000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2323560\/4164228"}},"issued":{"date-parts":[[2026,4,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2323560","published":{"date-parts":[[2026,4,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:13Z","timestamp":1784289853494,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2014,10,13]],"date-time":"2014-10-13T00:00:00Z","timestamp":1413158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2014,10,13]]},"abstract":"My video \"Mit\u00e4 ajattelu kutsuu?\" exposed here, audiovisually mimics, translates, challenges and transposes Martin Heidegger's essay \"Was hei\u00dft Denken?\". A compilation of passages of Heidegger's essay, which I have translated into Finnish for this purpose, makes up the voice-over accompanying the images in the video. The exposition also includes these passages in Finnish and German writing. The visual language of the video, in turn, edges Heidegger's pondering out of its focus by turning itself towards a series of questions deriving from the margins and lacunae of the essay. In its own peculiar way, the video is a call for thinking. Further, a text, entitled \"conversation\" in the menu, addresses some aspects of Heidegger's essay as if seen through the video. The conversation revolves around the questions of language and translation. Its form reflects the density and multifaceted character of the audiovisual material. Finally, \"epilogue\" attempts at unfolding a question concerning \"intelligent design\" that arises from the material. Here, my main point of reference is Jean-Luc Nancy's notion of struction.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.59435","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:41Z","timestamp":1503635081000},"source":"Crossref","is-referenced-by-count":0,"title":["What calls for thinking?"],"prefix":"10.22501","author":[{"family":"Mika Elo","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:21:08Z","timestamp":1784287268000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/59435\/59436"}},"issued":{"date-parts":[[2014,10,13]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/ruu.59435","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2014,10,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:48Z","timestamp":1784286348948,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,6,5]],"date-time":"2024-06-05T00:00:00Z","timestamp":1717545600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2024,6,5]]},"abstract":"Although I love attending traditional classical music concerts, I have long felt that they missed certain aspects that would make them more relatable to the inner world of the audience. In this research exposition, I argue that this missing aspect is a social element and I guide the reader through a possible application of social themes to a classical music concert. On a formal level, I use the techniques of psychodrama \u2013 a form of group therapy \u2013 as a tool from which I borrow some fundamental concepts, along with the conception of characters, to understand how social themes can be addressed in a context in which multiple people connect to the same object. In this case, the object of common interest is the representation on stage. On a substantial level, I draw upon material I collected in my interviews with Clara Scarafia to study a social theme she has been directly involved with: suicide. The two levels are brought together in my pilot session, where I experiment through a sample of the complete performance I am designing and an audience questionnaire how psychodrama and the interview interact and influence one another. The goal is to show that the classical repertoire, with its complex emotional kaleidoscope and non-verbal language, can easily bear a social theme and enhance the collective reflection of relevant themes in our times.<\/jats:p>\n keywords: Beyond Discipline, socially engaged art, Performance art<\/jats:p>","DOI":"10.22501\/koncon.1910510","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:04Z","timestamp":1725906964000},"source":"Crossref","is-referenced-by-count":0,"title":["Musical Psycho Performance"],"prefix":"10.22501","author":[{"family":"Gianmarco Moneti","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:27:39Z","timestamp":1784284059000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1910510\/2401516"}},"issued":{"date-parts":[[2024,6,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1910510","published":{"date-parts":[[2024,6,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:36Z","timestamp":1784289996740,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","license":[{"start":{"date-parts":[[2018,6,29]],"date-time":"2018-06-29T00:00:00Z","timestamp":1530230400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,29]]},"abstract":"This paper proposes a pragmatic response to the broad philosophical question of what constitutes a soundscape and in what ways it might resonate through consciousness and perception. It also discusses phonography, criticizes its incapability to capture the essence of environmental sound, and explains how a series of artistic practices emerged and established themselves within the non-linearities of the recording-reproduction paradigm. Further, it elaborates on how sound art inaugurates new ways of perceiving, thinking about and representing soundscapes, accordingly. In this respect, several examples are discussed, including a selection of works by the author.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.268080","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:52Z","timestamp":1733131552000},"source":"Crossref","is-referenced-by-count":0,"title":["ON SOUNDSCAPES, PHONOGRAPHY, AND ENVIRONMENTAL SOUND ART"],"prefix":"10.22501","author":[{"family":"Marinos Koutsomichalis","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:41:27Z","timestamp":1784288487000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/268080\/268081"}},"issued":{"date-parts":[[2018,6,29]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.268080","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967776,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"34","license":[{"start":{"date-parts":[[2024,12,27]],"date-time":"2024-12-27T00:00:00Z","timestamp":1735257600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,12,27]]},"abstract":"How can we practice, think, and write contemporary circus beyond the human? What would it mean to create new modes of performance that would (re)valorize the animal in the ring? This exposition presents an exploration of the inventive, creative, and active dimensions of non-human animals in the context of circus. In 2022, we \u2014 Natan Hansi Alberca (multidisciplinary visual artist), Franziska Trapp (dramaturge and researcher), and Sabrina Sow (equestrian artist) \u2014 came together to create a vivid dialogue between practice and reflection, artistic and academic research, informed and naive approaches. We now exhibit our exchange through video installations, academic writings, and poems, that expand on, express agreement with, or contradict each other. Our intention is to make perceptible how artistic and reflective processes are fundamentally intertwined.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/profile\/download-media?work=2936353&amp;file=3307183\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: contemporary circus, Dramaturgy, non-human, horses, dialogue, visual art, academic research, poetry<\/jats:p>","DOI":"10.22501\/jar.1702122","type":"journal-article","created":{"date-parts":[[2024,12,27]],"date-time":"2024-12-27T11:43:31Z","timestamp":1735299811000},"source":"Crossref","is-referenced-by-count":0,"title":["The Non-Human Animal Artist: Toward the Presentation of an Artistic Species-Companionship in Circus."],"prefix":"10.22501","author":[{"family":"Franziska Trapp","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Natan Alberca","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Sabrina Sow","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:18Z","timestamp":1784282298000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1702122\/3133638"}},"issued":{"date-parts":[[2024,12,27]]},"references-count":0,"journal-issue":{"issue":"34"},"URL":"https:\/\/doi.org\/10.22501\/jar.1702122","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2024,12,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967807,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T00:00:00Z","timestamp":1759795200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Post-Interpretive Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art WritingAuthor: Dorian ValeThis doctrinal essay codifies the foundational ethics and philosophy of Post-Interpretive Criticism\u2014a radical departure from traditional art writing that prioritizes interpretation, explanation, and performative analysis. In its place, Dorian Vale introduces a critical framework rooted in restraint, witness, and moral proximity. Rather than dissecting or decoding art, this doctrine teaches the critic to hold space, remain present, and write with reverence. Art, especially that which emerges from grief, trauma, displacement, or sacred silence, is not a puzzle to be solved\u2014but a presence to be honored. This doctrine offers a structured alternative to the dominant critical paradigms. It affirms that the most ethical art writing does not always speak\u2014it listens. It does not clarify\u2014it shelters. It does not interpret\u2014it witnesses. Blending philosophy, aesthetic ethics, and literary rigor, this foundational text establishes Post-Interpretive Criticism as both a movement and a method. It calls for nothing less than a revolution in the way we engage with meaning, silence, and the unseen. Vale, Dorian. Post-Interprative Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing. Museum of One, 2025. DOI: 10.5281\/zenodo.17012559Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)Post-Interpretive Criticism, art criticism ethics, Dorian Vale, doctrine of restraint, moral proximity in art, witness-based art writing, contemporary art theory, post-critical aesthetics, slow art, minimal criticism, sacred witnessing, aesthetic responsibility, trauma in art, ethical language in criticism, writing without harm, non-interpretive criticism, viewer as evidence, presence in art, philosophical criticism, art and reverence<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Adab for Art, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Contemporary sacred aesthetics, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, Post-Interpretive Lexicon, art, Art Criticism, Criticism, Fine Arts<\/jats:p>","DOI":"10.22501\/rc.3921018","type":"posted-content","created":{"date-parts":[[2025,10,7]],"date-time":"2025-10-07T15:22:54Z","timestamp":1759850574000},"source":"Crossref","is-referenced-by-count":0,"title":["Post-Interprative Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:51Z","timestamp":1784282271000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921018\/3921017"}},"issued":{"date-parts":[[2025,10,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921018","published":{"date-parts":[[2025,10,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:50Z","timestamp":1784283050935,"version":"3.55.0"},"posted":{"date-parts":[[2021,2,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,2,27]],"date-time":"2021-02-27T00:00:00Z","timestamp":1614384000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Convivial Labour Force Project fits somewhere between the nomadic fablab and the anti-business. Flirting with the limits of a free maker space and applied conviviality, the project is inspired by a desire of reappropriating social economy and questioning the meaning of transaction within mutual aid. The goal is simple: to offer one\u2019s free collaboration in a diversity of projects - through cabinetmaking to sewing including cooking and horticulture \u2013 all while aligning the co-performed tasks with the principles of economic degrowth, conviviality and horizontality. ________________________________________________________Projet main d\u2019\u0153uvre conviviale s\u2019inscrit quelque part entre le fablab nomade et l\u2019anti-entreprise, aux limites du maker space gratuit et de la convivialit\u00e9 appliqu\u00e9e, inspir\u00e9 par un d\u00e9sir de r\u00e9appropriation de l\u2019\u00e9conomie sociale et une remise en question de la transaction dans l\u2019entraide. L\u2019objectif est simple : offrir gratuitement sa collaboration dans de multiples projets \u2013 de l\u2019\u00e9b\u00e9nisterie \u00e0 la couture en passant par la cuisine et l\u2019horticulture \u2013 tout en alignant les t\u00e2ches ainsi co-effectu\u00e9es avec les principes de la d\u00e9croissance \u00e9conomique, de la convivialit\u00e9 et de l\u2019horizontalit\u00e9.<\/jats:p>\n keywords: degrowth, conviviality, d\u00e9croissance, convivialit\u00e9, manoeuvre, maneuver, labour, main-d'oeuvre, ecology, horizontality, entraide, \u00e9cologie, horizontalit\u00e9, mutual aid, social economy, \u00e9conomie sociale<\/jats:p>","DOI":"10.22501\/rc.648440","type":"posted-content","created":{"date-parts":[[2021,2,26]],"date-time":"2021-02-26T20:47:23Z","timestamp":1614372443000},"source":"Crossref","is-referenced-by-count":0,"title":["The Convivial Labour Force Project \/ Projet main d'oeuvre conviviale"],"prefix":"10.22501","author":[{"family":"Julien Gagnon Rouillard","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:18Z","timestamp":1784282418000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/648440\/648441"}},"issued":{"date-parts":[[2021,2,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.648440","published":{"date-parts":[[2021,2,27]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:26Z","timestamp":1784286446673,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Pieter Koster Main Subject: Wind band Conducting Research Supervisor: Paul Scheepers Title of Research: George Lloyd \u2013 Music for brass, from symphony to test-piece Research Questions: 1. Did George Lloyd change his way of composing from Symphony no. 10 via Royal Parks to Diversions on a Bass Theme? a. In what way does George Lloyd treat the following compositional elements in each piece? i. Structure ii.Harmony iii.Thematic material iv. Musical Tension b. In what way does the treatment of these elements differ in each piece? 2. Did George Lloyd succeed in combining his own views with the demands of the test-piece commissions, to write an appropriate test-piece? Summary of Results: Cornish symphonic and opera composer George Lloyd has written several compositions for brass, starting with a symphony for brass ensemble (Symphony no. 10) and then several test-pieces for brass band. The commission of test-pieces for brass band contests appears to be guided only by implicit criteria for these sort of compositions. Lloyd\u2019s first test-piece, Royal Parks, apparently did not meet the criteria and his second test-piece, Diversions on a Bass Theme, did. This thesis investigates if George Lloyd changed his way of composing to write an appropriate test-piece, by a detailed analysis of Symphony no. 10, Royal Parks and Diversions on a Bass Theme. Besides that the thesis will try to answer the question if Lloyd was able to combine his own musical views with the demands of the test-piece commissions. The main findings are that Lloyd remained within his own musical language when writing the test-pieces, however he made some decisive choices regarding structure, form and thematic material that influenced the compositions significantly. He did partially succeed in combining his own views with the demands of the test-piece commissions. Biography: Pieter Koster (1985) completed his Bachelor\u2019s Degrees at the Royal Conservatory in The Hague as a student of Ad van Zon on the trumpet, and Alex Schillings for conducting. In September 2016 he successfully completed his Master-exam concert with the Bundes Polizeiochester M\u00fcnchen. Pieter has participated in multiple conducting courses with renowned (professional) orchestras and teachers. Today he is professional conductor of the fanfare orchestras \u2018Ons Genoegen\u2019 Hattem, \u2018Wilhelmina\u2019 Volendam and the Koninklijke Brassband Utrecht. He is also a brass teacher for numerous students. Since 2014 he is secretary and member of the board of the Dutch Association of Wind band Conductors (Bond van Orkestdirigenten en Instructeurs).<\/jats:p>\n keywords: wind band, George Lloyd, test-piece, composition<\/jats:p>","DOI":"10.22501\/koncon.63714","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:45:20Z","timestamp":1725907520000},"source":"Crossref","is-referenced-by-count":0,"title":["George Lloyd - Music for Brass, from symphony to test-piece"],"prefix":"10.22501","author":[{"family":"Pieter Koster","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:49:41Z","timestamp":1784285381000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/63714\/63715"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.63714","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:10Z","timestamp":1784286190863,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"26","license":[{"start":{"date-parts":[[2022,5,26]],"date-time":"2022-05-26T00:00:00Z","timestamp":1653523200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2022,5,26]]},"abstract":"Acoustemological Investigation: Sound Diary #Tehran is a research-based project that is being developed as part of my ongoing Ph.D. research. This is accomplished by employing sensory methodology as a research tool for observing and analysing architecture and urban design. Art and architecture have always seemed to me to have the potential for social change and the improvement of the existing social order. They can be emancipatory, assisting in self-development, promoting social justice, and even, in small ways, changing the world we live in. As a result, artists and architects engage in activities of innovation and creativity in the hope of articulating their dreams and building a better future for the benefit of their communities. The living environment and places where people spend their time tell a story about who they are and their vision of the future. Art and architecture are social practices that are inextricably linked to the rest of social life. In this regard, this exposition is an attempt to observe, study, and analyse the process of urbanisation in Iran, specifically the housing construction in the Pardis Phase 11 suburbs of Tehran.The interest in the sensory dimension of Pardis Phase 11 serves as the starting point for this artistic practice-led research project. The project employs sensorial methodologies such as acoustemology to investigate the area and urban transformations caused by concepts such as \u2018modernisation\u2019, \u2018development\u2019, \u2018progress\u2019, and \u2018globalisation\u2019. The work evolves through a large collection of media content in the form of field recordings made at the Phase 11 site. The project\u2019s goal is to create a discursive sensory environment in order to generate a contemplative and in-depth reflection of a barren land transformed into an urban setting.<\/jats:p>\n keywords: Acoustemology, soundscape, psychogeography, sound art, architecture, urban sonic space, practice-based research<\/jats:p>","DOI":"10.22501\/jar.822215","type":"journal-article","created":{"date-parts":[[2022,5,26]],"date-time":"2022-05-26T16:56:41Z","timestamp":1653584201000},"source":"Crossref","is-referenced-by-count":0,"title":["Acoustemological Investigation: Sound Diary #Tehran"],"prefix":"10.22501","author":[{"family":"Ali Mousavi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:04:22Z","timestamp":1784282662000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/822215\/822216"}},"issued":{"date-parts":[[2022,5,26]]},"references-count":0,"journal-issue":{"issue":"26"},"URL":"https:\/\/doi.org\/10.22501\/jar.822215","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2022,5,26]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:08Z","timestamp":1742358188018,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0038","type":"journal-article","created":{"date-parts":[[2020,12,27]],"date-time":"2020-12-27T16:38:42Z","timestamp":1609087122000},"source":"Crossref","is-referenced-by-count":0,"title":["A motiva\u00e7\u00e3o que fez eclodir a RIACT"],"prefix":"10.22501","author":[{"given":"Jos\u00e9","family":"Quaresma","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,12,27]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:10Z","timestamp":1742292190000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/pt\/motivacao-que-fez-eclodir-riact"}},"issued":{"date-parts":[[2020,12,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0038","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2020,12,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:49Z","timestamp":1784290069212,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2016,7,10]],"date-time":"2016-07-10T00:00:00Z","timestamp":1468108800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,7,10]]},"abstract":"Singing, chanting and the identification of some genres of music with particular clubs is an essential part of football culture. Stadium atmosphere is created through a combination of elements \u2013 smoke bombs, crowd densities, lighting, banners, and shouting \u2013 but the most intense and focused manner is through the rehearsed and conducted chanting. The range, originality, and loudness of chanting is the lure for fan groups, and an essential element of ultra fandom (Doidge and Lieser 2013; Kyt\u00f6 2011). The Pasoepati supporter group of Solo, for example, draws on a range of musical styles and supporter chants to create its own soundscape in which their support for Persis Solo is articulated. During Persis Solo games, the Manahan Stadium becomes a site in which a Persis Solo-Pasoepati soundscape is created; rival clubs, such as Persebaya and PSIM, and their respective fan groups, also articulate their own soundscapes. The chanting is a part of global football culture and mediated through local cultural practices and values. This paper explores the sonic rituals \u2013chanting and singing \u2013 that create a sense of community, based around a football team and city.<\/jats:p>\n keywords: Football, Soundscapes, Indonesia, Solo, Fandom, Chants<\/jats:p>","DOI":"10.22501\/jss.286556","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:59Z","timestamp":1733131619000},"source":"Crossref","is-referenced-by-count":0,"title":["Football Soundscapes of Java"],"prefix":"10.22501","author":[{"family":"Andy Fuller","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:49:07Z","timestamp":1784288947000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/286556\/286557"}},"issued":{"date-parts":[[2016,7,10]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jss.286556","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2016,7,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:57Z","timestamp":1784282997885,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Exhibition, Gallery Last Touch Mosta, MT 2014<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4206209","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:30:56Z","timestamp":1774445456000},"source":"Crossref","is-referenced-by-count":0,"title":["XIV - 2014"],"prefix":"10.22501","author":[{"family":"Matthew (Matyou) Galea","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:52Z","timestamp":1784282212000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4206209\/4206210"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4206209","published":{"date-parts":[[2026,3,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:04Z","timestamp":1784283004575,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,17]],"date-time":"2020-12-17T00:00:00Z","timestamp":1608163200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition takes the form of a portfolio of materials documenting the research questions, methods and processes underpinning the CD production 'Venice 1629' (performers: The Gonzaga Band, dir. Jamie Savan, released on the Resonus Classics label in July 2018). It includes 10 new performing editions, discussion of performance practice issues including rhythmic proportions, ornamentation and instrumentation, alongside the full recording in streamable MP3 format and a fully referenced version of the booklet essay.<\/jats:p>\n keywords: Venice, 1629, Sch\u00fctz, Monteverdi, Castello, Marini, Grandi, Donati, Benedetto Re, Carrone, Pesenti, Calvi, Proportions, Cornett, Cornetto, Violin, Organ, Hauptwerk, Ornamentation, HIP, Music and performing arts 2021<\/jats:p>","DOI":"10.22501\/rc.491645","type":"posted-content","created":{"date-parts":[[2020,12,13]],"date-time":"2020-12-13T16:34:31Z","timestamp":1607877271000},"source":"Crossref","is-referenced-by-count":1,"title":["Venice 1629: Exposition of Research"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-2928-3417","authenticated-orcid":false,"family":"Jamie Savan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:27Z","timestamp":1784282427000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/491645\/491646"}},"issued":{"date-parts":[[2020,12,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.491645","published":{"date-parts":[[2020,12,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025369,"version":"3.55.0"},"posted":{"date-parts":[[2022,11,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,11,13]],"date-time":"2022-11-13T00:00:00Z","timestamp":1668297600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The paper studies revolutionary event and its temporality through the concept of a movement score.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1802201","type":"posted-content","created":{"date-parts":[[2022,11,13]],"date-time":"2022-11-13T08:11:55Z","timestamp":1668327115000},"source":"Crossref","is-referenced-by-count":0,"title":["Scoring political movement and its exhaustion"],"prefix":"10.22501","author":[{"family":"olia sosnovskaya","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:42Z","timestamp":1784282382000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1802201\/1802200"}},"issued":{"date-parts":[[2022,11,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1802201","published":{"date-parts":[[2022,11,13]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:40Z","timestamp":1784369080722,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2026,3,12]],"date-time":"2026-03-12T00:00:00Z","timestamp":1773273600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ntnu"],"published-print":{"date-parts":[[2026,3,12]]},"abstract":"Motherhood in cinema is often a side plot \u2013 this PhD project in Artistic Research seeks to challenge that. Through collecting, writing, and \u201cdoubling\u201d as methods, it explores the maternal experiences of three filmmakers and how these complex realities can take shape in a hybrid film blending fiction, documentary, live-action, and animation. The research addresses a gap in representation, where female doppelg\u00e4ngers and alter egos are rarely linked to motherhood, despite its deeply transformative nature \u2013 an obvious foundation for doubling. In filmic narratives, female doubles are often cast as antagonists or disruptions rather than reflections of a mother\u2019s evolving self. The lens post-birth shifts to the child\u2019s development and perspective, leaving the mother\u2019s transformation \u2013 her shifting identity and sense of self \u2013 largely unexplored. This project takes a different approach, using interviews, video recordings, animated investigations, and personal reflections to explore the challenges of balancing motherhood and filmmaking. By aligning maternal experience with cinematic doubling, it highlights the multifaceted roles women navigate in both fields. The research also engages with filmmakers and artists who challenge conventional portrayals of motherhood. Though caregiving perspectives appear in short-form animation, hybrid long-form representations are still rare. Influences include literary works exploring motherhood, identity, and doubling, such as Matrescence by Lucy Jones and August Blue by Deborah Levy. Rather than aiming for a traditional completed film, the outcome prioritizes the process. It includes a synopsis and excerpts from the evolving script Make Her See, alongside documentary footage, interviews, animation tests, and live-action experiments. Incorporating doppelg\u00e4ngers and animated alter-egos, the project blends realism and surrealism to examine a woman\u2019s vulnerabilities and resilience as she redefines herself. This artistic research expands the representation of motherhood in mixed media film, connects the maternal experience to cinematic doubling, and opens new possibilities for nuanced maternal narratives.<\/jats:p>\n keywords: hybrid film, documentary, fiction, animation, autoethnography, motherhood, filmmaking, mixed media, screenwriting, representation, alter ego, Doubling, FILM, ikm, ntnu, phkunst<\/jats:p>","DOI":"10.22501\/ntnu.3666834","type":"journal-article","created":{"date-parts":[[2026,3,12]],"date-time":"2026-03-12T16:25:21Z","timestamp":1773332721000},"source":"Crossref","is-referenced-by-count":0,"title":["HYBRID NARRATIVES: Approaching Maternal Experience through Collecting, Writing, and Doubling in the Development of Mixed Media Film"],"prefix":"10.22501","author":[{"family":"Denise Hauser","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Norwegian University of Science and Technology"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:19:48Z","timestamp":1784366388000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3666834\/3666852"}},"issued":{"date-parts":[[2026,3,12]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/ntnu.3666834","published":{"date-parts":[[2026,3,12]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:06Z","timestamp":1784369106904,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T00:00:00Z","timestamp":1703116800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2023,12,21]]},"abstract":"I aim to offer embodied intimacy for people who are close by heart but physically apart. Specifically, I explore designing close-to-body experiences at a distance through intimate bio-rings, rings made of natural ingredients. Intimate bio-rings are highly customizable, can be biodegraded, and start dissolving when exposed to humidity e.g.: rain, sweat etc. The idea of creating a non-lasting object to be worn on the body\u2014that required care, that was ambiguous and tangible\u2014was a result of a prior user study of cultural probing and embodied design ideation. I further experimented with intimate bio-rings by making the ring and wearing it in everyday life together with my father, whom I live far away from. In this paper, I showcase a user study with 3 pairs (6 participants) that made intimate bio-rings at their homes while self-reported and self-documented their personal experiences. They then further shared their meaning-makings with me through an interview. Overall, participants found intimate bio-rings to be supporting new understandings about intimacy at a distance. As a result, their experience of \"distance\" alters slightly or changes completely by i) embarking on a journey, ii) creating time and space to be together, and iii) carrying each other through a tangible object.<\/jats:p>\n keywords: distances, intimacy, embodied design, user study<\/jats:p>","DOI":"10.22501\/hub.2272473","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T07:05:40Z","timestamp":1703142340000},"source":"Crossref","is-referenced-by-count":0,"title":["Dissolving distances: Designing close-to-body experiences for remote settings"],"prefix":"10.22501","author":[{"family":"Nesli Hazal Oktay","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:25:07Z","timestamp":1784366707000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2272473\/2272474"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/hub.2272473","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:09:13Z","timestamp":1784286553336,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,30]],"date-time":"2026-04-30T00:00:00Z","timestamp":1777507200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,30]]},"abstract":"T\u00e4ss\u00e4 ekspositiossa pohdin puutarhakaupunkiutopian kokemusavaruutta ja tarkastelen sit\u00e4 omakohtaisen, liikkumisen ideaalista ammentavan praktiikan kautta. Hahmottelen utooppista ulottuvuutta liikkumisen ja sen teknistyneiden piirteiden kautta, k\u00e4ytt\u00e4m\u00e4ll\u00e4 s\u00e4hk\u00f6potkulautaa tutkimusv\u00e4lineen\u00e4.Aloin k\u00e4ytt\u00e4\u00e4 s\u00e4hk\u00f6potkulautoja vuoden 2021 kes\u00e4st\u00e4 l\u00e4htien. Olen taltioinut omaa liikkumistani ja tehnyt muistiinpanoja ajamistani matkoista. Samalla olen ottanut valokuvia ymp\u00e4rist\u00f6st\u00e4 ja s\u00e4hk\u00f6potkulaudoista.Tutkimukseni tarkoitus on tuoda yksi n\u00e4k\u00f6kulma lis\u00e4\u00e4 urbaanin, yhteisen tilan tarkasteluun ja taiteellisen tutkimuksen keinoihin.<\/jats:p>\n keywords: city, urban space, utopia, electric scooter, scooter, mobility<\/jats:p>","DOI":"10.22501\/ruu.3007692","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:06:03Z","timestamp":1777449963000},"source":"Crossref","is-referenced-by-count":0,"title":["Rakeinen utopia \u2060\u2013 Tutkimusta s\u00e4hk\u00f6potkulaudalla"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-1105-9115","authenticated-orcid":false,"family":"Tero Heikkinen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:00:16Z","timestamp":1784286016000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3007692\/3007693"}},"issued":{"date-parts":[[2026,4,30]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.3007692","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2026,4,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:40Z","timestamp":1784289880921,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T00:00:00Z","timestamp":1715558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: As Resistance, as Relationship, and Towards the Relational, Supervisors: Ruth Anderwald + Leonhard GrondEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2738171","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:26:07Z","timestamp":1715585167000},"source":"Crossref","is-referenced-by-count":0,"title":["Legibility"],"prefix":"10.22501","author":[{"family":"Jo O'Brien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:24:07Z","timestamp":1784287447000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738171\/2738172"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2738171","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030991,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T00:00:00Z","timestamp":1717200000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition is a documentation and dissection of the process of creating \"Strings\", a series of performative encounters with members of Agenda 2030 Graduate School. The performance is a part of the artistic PhD research \"How Little is Enough?\" Sustainable Methods of Performance for Transformative Encounters in Malm\u00f6 Theatre Academy at Lund University. The exposition is a logbook of the process from the moment of conception to the aftermath and follows two dramaturgical tracks, an inner journey and an outer chain of events. The exposition holds a personal diary, correspondence, manuscripts, qoutes from participants, pictures and a video interview with the artistic researcher.<\/jats:p>\n keywords: Agenda 2030, participation, relation specific performance, performative encounters, transformation, existential sustainability<\/jats:p>","DOI":"10.22501\/rc.1845560","type":"posted-content","created":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T05:56:52Z","timestamp":1717221412000},"source":"Crossref","is-referenced-by-count":0,"title":["STRINGS"],"prefix":"10.22501","author":[{"family":"Steinunn Kn\u00fats \u00d6nnud\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:45Z","timestamp":1784282325000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1845560\/1845561"}},"issued":{"date-parts":[[2024,6,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1845560","published":{"date-parts":[[2024,6,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967786,"version":"3.55.0"},"posted":{"date-parts":[[2025,11,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,21]],"date-time":"2025-11-21T00:00:00Z","timestamp":1763683200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The project intertwines personal memory, sound studies, and artistic practice to explore how war transforms both landscape and perception. Beginning with the Russian invasion of Ukraine, the author reflects on the Dnipro River as a literal and symbolic frontline, where silence and explosions shape the sonic environment. Through the creation of operas such as Chornobyldorf, Genesis, and GAIA-24, in cooperation with composer Roman Grygoriv and artistic collective Opera Aperta author investigates how art can transmute trauma into collective listening and ecological reflection. The text ultimately proposes sound and water as metaphors for resilience and continuity\u2014liquid archives that carry both the memory of destruction and the possibility of regeneration.<\/jats:p>\n keywords: ukraine, russian terrorism, genocide, ecocide, theater of war, rivers, Ukraine, invasion colonisalism<\/jats:p>","DOI":"10.22501\/rc.3947616","type":"posted-content","created":{"date-parts":[[2025,11,21]],"date-time":"2025-11-21T21:01:27Z","timestamp":1763758887000},"source":"Crossref","is-referenced-by-count":0,"title":["Listening to the sounds of war"],"prefix":"10.22501","author":[{"family":"Razumeiko Illia","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:30Z","timestamp":1784282250000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3947616\/3947617"}},"issued":{"date-parts":[[2025,11,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3947616","published":{"date-parts":[[2025,11,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977063,"version":"3.55.0"},"posted":{"date-parts":[[2026,5,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T00:00:00Z","timestamp":1777939200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research examines how the mediality of conflict is constructed and perceived through content produced by users and institutional sources on digital platforms. Conflict is approached not only as a political event, but as a narrative phenomenon shaped through the reinterpretation of images and texts. Particular attention is given to emerging digital languages, including distorted writing and visual codes, in relation to algorithmic visibility and moderation on platforms such as TikTok. These practices function both as cultural expressions and as strategies of evasion. Through a parallel with the Panchatantra tradition, the research highlights how conflict dynamics are transcoded into digital forms.<\/jats:p>\n keywords: digital art, languages, media, Persian Literature, social media, Social Networks, text, Subversion, videogame, algorithms, AI<\/jats:p>","DOI":"10.22501\/rc.4291842","type":"posted-content","created":{"date-parts":[[2026,5,5]],"date-time":"2026-05-05T14:34:04Z","timestamp":1777991644000},"source":"Crossref","is-referenced-by-count":0,"title":["Digital subversive languages and algorithmic control"],"prefix":"10.22501","author":[{"family":"Nicholas Mazzilli","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:41Z","timestamp":1784282201000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4291842\/4291843\/1794\/2141"}},"issued":{"date-parts":[[2026,5,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4291842","published":{"date-parts":[[2026,5,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:10Z","timestamp":1784289910019,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"24","license":[{"start":{"date-parts":[[2023,3,6]],"date-time":"2023-03-06T00:00:00Z","timestamp":1678060800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2023,3,6]]},"abstract":"This article explores some of the implications and limitations of framing political debates as a politics of voice and builds on the idea of \u201clistening out\u201d as a necessary technique of political action (Lacey 2013: 3-21). Political listening in this sense is about keeping channels of communication open, accepting ongoing difference and conflicts of interest. It is, therefore, a difficult, challenging and risk-laden labour in the best of times and all the more so in times of division and conflict (Bickford 1996; Hofman 2020). Meanwhile, listening in media studies has tended to conceive of listening, if not as entirely passive, then primarily as a kind of decoding or translation practice \u2013 a practice of response. This article is concerned with the labour of political listening in the mediated public sphere. It describes the productive power of listening to generate a space for \u201cvoice\u201d and explores the labour involved in preparing the space, time, setting, mood, technologies, and techniques for listening and how that labour is variously valued and exchanged. And it builds on work that thinks about listening not exclusively in relation to sound, finding that sonic vocabulary and metaphors can help reframe notions of the public sphere and politics long shaped and distorted by a reliance on the visual registers of print culture and the spectacle.<\/jats:p>\n keywords: Listening Out<\/jats:p>","DOI":"10.22501\/jss.1932647","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:14Z","timestamp":1733131514000},"source":"Crossref","is-referenced-by-count":0,"title":["The Labour of Listening in Troubled Times"],"prefix":"10.22501","author":[{"family":"Kate Lacey","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:32:27Z","timestamp":1784287947000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1932647\/1932646"}},"issued":{"date-parts":[[2023,3,6]]},"references-count":0,"journal-issue":{"issue":"24"},"URL":"https:\/\/doi.org\/10.22501\/jss.1932647","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2023,3,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:34Z","timestamp":1784286454054,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,7,11]],"date-time":"2022-07-11T00:00:00Z","timestamp":1657497600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"The traditional way of classical concerts \u2013 i.e. a concert of 1,5 hour, no moving or making sounds, no interaction \u2013 is not the way to attract children to classical music. There are different inviting ways to interest children in a classical performance, for example with interaction, participation or storytelling. In this research we investigate if storytelling has an effect on children\u2019s enthusiasm for classical music and their likeability of playing an instrument themselves. Furthermore, we assess if there is a relation between musical interest, engagement and\/or emotional intensity during the concert. We do this by comparing a story-condition with a technical information-condition, in which the presenter talks about the instruments or the performance location. It is executed in the Classic Express, a concert truck in which laureates of the Prinses Christina Concours, a Dutch competition for young musicians, perform and present classical music for primary school classes. Children answer questions before, directly after and one week after the concert about how much they like the music, if they want to experience it again and if they are interested in playing a musical instrument themselves. The results can support musicians wanting to give engaging performances to children, improve the quality of concerts for this target audience and raise likeability of classical music in young generations.<\/jats:p>\n keywords: audience, children, classical music, concert, storytelling<\/jats:p>","DOI":"10.22501\/koncon.1623644","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:38:22Z","timestamp":1725907102000},"source":"Crossref","is-referenced-by-count":0,"title":["Classic Expression: the effect of storytelling in a classical concert for children"],"prefix":"10.22501","author":[{"family":"Vivian de Graaff","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:35:07Z","timestamp":1784284507000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1623644\/1623643"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1623644","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:30Z","timestamp":1784290110923,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"07","license":[{"start":{"date-parts":[[2014,6,26]],"date-time":"2014-06-26T00:00:00Z","timestamp":1403740800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2014,6,26]]},"abstract":"Perched on the fringe of the extreme metal underground and named after the brand of vintage amplifiers they use, the band Sunn O))) creates 90 minute mostly-improvised live sets that focus on bass and sub\u00ad-bass (20-60 Hz) tones, played at a volume of about 120 dB. With a motto of \u201cMaximum Volume Yields Maximum Results,\u201d loudness is their musical content, and the droning, low tones they project require multi-\u00adsensoryinterpretation, as they are felt in the body as vibrations. This paper explores the experience of a Sunn 0))) concert, as it transgresses and dominates the listener\u2019s body, controlling available sensory data. The heavily amplified low frequencies bring the listener's body into direct contact with the physical properties of sound, touching it with bone-\u00adrattling vibrations. Cloaked in thick artificial fog, the means of sound production remain hidden. Furthermore, the sounds themselves rely more on effects pedals than on instrumental prowess\u037e the plucking of a guitar string may supply the signal for several minutes of music. This combination of visual deprivation and aural\/tactile overload enacts a ritual of sensory domination, to which the audience submits.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.84314","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:31Z","timestamp":1733131651000},"source":"Crossref","is-referenced-by-count":1,"title":["MAXIMUM VOLUME YIELDS MAXIMUM RESULTS"],"prefix":"10.22501","author":[{"family":"Olivia Lucas","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:54:22Z","timestamp":1784289262000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/84314\/87805"}},"issued":{"date-parts":[[2014,6,26]]},"references-count":0,"journal-issue":{"issue":"07"},"URL":"https:\/\/doi.org\/10.22501\/jss.84314","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2014,6,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:49Z","timestamp":1784289829675,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T00:00:00Z","timestamp":1591574400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,8]]},"abstract":"Awareness of environmental issues, such as climate change and microplastics, has raised general concern about the state of the environment. Only recently has the discussion tackled the consequences of the human imprint in the contamination of the soil appropriately. In this artistic research, we use soil as the material mediator to explore and communicate the intertwined relationship between humans and the environment. This study combines environmental research with ceramic practice. We discuss how ceramic practitioners can use their knowledge and skill to meaningfully engage in the environmental discourse. The study was inspired by the call for Research Pavilion #3, which was organised by the University of the Arts, Helsinki, to be a place for ongoing artistic research during May-August 2019 in the context of the Venice Biennale. Working with Soil was presented as an ongoing research project taking place before and during the high season of Research Pavilion #3 in one of the six research cells: Traces from the Anthropocene.<\/jats:p>\n keywords: ceramics, soil, contamination, care, environmental awareness<\/jats:p>","DOI":"10.22501\/ruu.697190","type":"journal-article","created":{"date-parts":[[2020,6,7]],"date-time":"2020-06-07T23:28:25Z","timestamp":1591572505000},"source":"Crossref","is-referenced-by-count":2,"title":["Traces from the Anthropocene: Working with Soil"],"prefix":"10.22501","author":[{"family":"Riikka Latva-Somppi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Maarit M\u00e4kel\u00e4","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ozgu Gundeslioglu","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:11:37Z","timestamp":1784286697000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/697190\/697191"}},"issued":{"date-parts":[[2020,6,8]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.697190","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2020,6,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967805,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T00:00:00Z","timestamp":1759708800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This artistic research project investigates the ceramics workshop as a dynamic site at the convergence of art, pedagogy, and ecopolitics. Utilizing practice-based, iterative feedback loops, it explores how cycles of making, reflecting, and teaching with clay evolve concepts, methods, and material outcomes in an ongoing dialogue between agencies.^1 Clay is reimagined beyond a primitive arts and crafts medium as an infrastructural archive that embodies ecological, political, and urban narratives. Grounded in a material-ecological framework and informed by critical theory from Bruno Latour, Karen Barad, and Donna Haraway, the project situates ceramics pedagogy within an experimental ecology of keythings; clay, tools, kilns, residues, and bodies, that co-constitute knowledge.^2 This research embraces contradictions and complexities of wicked ecological problems, fostering a pedagogy of \u201ccomfortable discomfort\u201d that resists mastery and embraces provisionality.^3The research unfolds over a time of wicked problems: war, speculated ecological collapse, institutional fragility, and the difficulty of knowing which crisis demands priority or whether these crises are in fact complicit in one another. Within this uncertainty, it is also considered how to navigate complexity with mindful presence, cultivating forms of practice that allow us to remain responsive without paralysis and eventually if this approach could be conducive to locate stable solutions and re-inject questions stemming from the practice back into practice and beyond.^4Outcomes include pedagogical models and artistic works that demonstrate how material practices mediate relations between sustainability, ethical responsibility, and creative agency. Ultimately, the project envisions the ceramics studio as a vibrant, relational ecology that invites ongoing inquiry into the entangled systems constituting artistic research, practice and pedagogy.^5 ^1 Patricia Leavy, Method Meets Art: Arts-Based Research Practice, 3rd ed. (New York: Guilford, 2024).^2 Bruno Latour, We Have Never Been Modern (Cambridge, MA: Harvard University Press, 1993); Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning (Durham, NC: Duke University Press, 2007); Donna Haraway, Staying with the Trouble: Making Kin in the Chthulucene (Durham, NC: Duke University Press, 2016).^3 Donna Haraway, Staying with the Trouble, 2016; Timothy Morton, Dark Ecology: For a Logic of Future Coexistence (New York: Columbia University Press, 2016).^4 Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (Princeton, NJ: Princeton University Press, 2015).^5 Patricia Leavy, ed., Handbook of Arts-Based Research, 2nd ed. (New York: Guilford, 2025).Participants: Alevtina Lyapunova, Ana de Sousa Cardoso, Asya Marakulina, Bahareh Rahimi, Buket \u00d6zalevli, Carmen Kalata, Ebba Sofie Olsson, Esther V\u00f6r\u00f6smarty, Gloria Bergner, Heidi No\u00e9mi Ramskogler, Julia Stakhorska, Lili Marie Theilen, Luisali Theisen, Maria Milagros Ainchil, Olga Shapovalova, Oliwia Wioletta Kalwa, Prima Mathawabhan, Siha Kim, Tabea Briggs, Tim Morris Schiffer, Yeonkyeong Park together with Kristin Weissenberger and Zahra Mirza<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3007138","type":"posted-content","created":{"date-parts":[[2025,10,6]],"date-time":"2025-10-06T11:46:11Z","timestamp":1759751171000},"source":"Crossref","is-referenced-by-count":0,"title":["Keythings of Clay: Material Ecologies in Art and Pedagogy"],"prefix":"10.22501","author":[{"family":"ZM","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:52Z","timestamp":1784282272000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3007138\/3007139"}},"issued":{"date-parts":[[2025,10,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3007138","published":{"date-parts":[[2025,10,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993726,"version":"3.55.0"},"posted":{"date-parts":[[2022,9,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,9,14]],"date-time":"2022-09-14T00:00:00Z","timestamp":1663113600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Over the course of many years of playing the qanun; a trapezoidal middle eastern zither-like stringed instrument, I have noticed how often the instrument has been played within its modal traditional framework, leading me to a perception that the qanun and myself are prevented from discovering more techniques and new potentials. I, hence, have been attempting to explore the traditional manners of treating the instrument with regard to timbre, playing techniques, and different harmonic orientations - while trying to maintain its true qualities and not losing sight of its traditional soul. My aspiration, as well as my method, is to be open to what one can do with the instrument rather than to take a specific approach. The qanun had shown an untapped capacity for expanded techniques and a broader range of sounds that enrich and revitalize the instrument's sounds library. This research has enabled me to stretch my boundaries and explore unknown possibilities, which has helped in the expansion of my own self-expression as a composer. It also paved the way for me to investigate further unexplored potentials of the instrument as this research emphasizes to show the qanun\u2019s enormous capabilities that have yet to be realized.<\/jats:p>\n keywords: Qanun, Middle East, instrumental technique, kanun, arabic music, turkish, world music, improvisational. jamming<\/jats:p>","DOI":"10.22501\/rc.1032668","type":"posted-content","created":{"date-parts":[[2022,9,14]],"date-time":"2022-09-14T03:01:23Z","timestamp":1663124483000},"source":"Crossref","is-referenced-by-count":0,"title":["Searching for possibilities - Exploring the potentials of my Qanun performance"],"prefix":"10.22501","author":[{"family":"Shafeeq Alsadi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:46Z","timestamp":1784282386000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1032668\/1072196"}},"issued":{"date-parts":[[2022,9,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1032668","published":{"date-parts":[[2022,9,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:58Z","timestamp":1784283058657,"version":"3.55.0"},"posted":{"date-parts":[[2012,12,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2012,12,18]],"date-time":"2012-12-18T00:00:00Z","timestamp":1355788800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The project aimed to investigate preparatory methodologies employed in the contemporary art making process by a number of visual artists. The study focussed upon that mostly unseen and typically unexperienced aspect of contemporary art practice, the incubation of the germ of an idea, with its heuristic exploration of the collision between content and form.The proposition is that an artist\u2019s subjective expression operates in advance of their actual realisation, once they become absorbed in the physical interplay of the various elements of image making. Such interactive sequences actually make for streams of thought, even as they reach into sensory spheres that mostly remain tentative. To achieve the aims of this project it was vital to be able to examine these formative catalysts as well as their visual art outcomes. The vehicle chosen for investigation and publication was the art exhibition. Five artists presently working in different media were selected. The art exhibition, entitled 'Foreplay', incorporated both resolved artworks and speculative material, was held in the Plimsoll Gallery, Tasmanian School of Art, University of Tasmania, from 28 July to 19 August this year.A published catalogue with an introductory essay, artist\u2019s statements detailing their art practice, biographies and reproductions of explanatory background material, as well as exhibition artworks, accompanied the exhibition.'Foreplay' brought to the forefront heuristic material considerations that are the very stuff of an experimental art practice. To this end, it was important that the curators selected artists whose art practice sought expression in the immensely fertile field of the unknown, which in itself established an exhibition platform for risk, chance and proposition.Curator researchers Associate Lecturer Lucy Bleach and Professor Emeritus Geoff Parr, Tasmanian School of Art, University of Tasmania.Plimsoll Gallery manager Pat Brassington.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.33370","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:29Z","timestamp":1498053329000},"source":"Crossref","is-referenced-by-count":0,"title":["FOREPLAY -Group exhibition"],"prefix":"10.22501","author":[{"family":"Lucy Bleach","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:08Z","timestamp":1784282468000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/33370\/33371"}},"issued":{"date-parts":[[2012,12,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.33370","published":{"date-parts":[[2012,12,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:48Z","timestamp":1784282928805,"version":"3.55.0"},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In this presentation I will discuss some associative thoughts and preliminary results arising in connection with the forthcoming production of new stage-settings of Beethoven\u2019s Fifth Symphony and Albinoni\u2019s \u2018Adagio\u2019. The goal is to re-read and re-set the music and relieve it from some of the cultural layers and interpretational rituals that conventionally have been assigned to the pieces. The first part of the title, \u2018Who creates the creator?\u2019, refers to a question raised by Pierre Bourdieu in relation to in whose interest the present interpretational tradition is upheld? Is it for the sake of the art object or just for upholding the business around virtuosity and the genius?I want to bring forward a slightly different story, and this from within the musical material. Both of the works are exceedingly well known and are in different ways incorporated in our cultural canon. Beethoven\u2019s Fifth Symphony is seen as the overall emblematic piece for the whole classical tradition. Albinoni\u2019s Adagio on the other hand plays a different role in the cultural landscape and addresses nostalgia in a more direct manner.\u201cA musician, as is obvious, must, in the Western musical tradition, know how to intelligently read a score\u2026 For once one leaves meaning-interpretation for \u2014 what shall I call it? \u2014 structure-interpretation, the spell of monism is broken. Why shouldn\u2019t a structure have more than one interpretation, more than one way it goes?\u201d This citation from philosopher Peter Kivy can be widened, I will show, to also include the interpretation of form within a piece of music.By presenting two, in a way opposite, interpretational strategies in the same concert program, there is a larger possibility than is usually the case, for the audience and the musicians to start reflecting on the question of musical interpretation in a broader sense. With orchestras around the world relentlessly upholding the classical and romantic tradition in their repertoire there is a great need for new interpretational angles. The two new interpretations are to be performed by the Gothenburg Symphony Orchestra in October 2011.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.8563","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:11Z","timestamp":1497983831000},"source":"Crossref","is-referenced-by-count":0,"title":["\u2018Who creates the creator\u2019 \u2013 and the limits of interpretation?"],"prefix":"10.22501","author":[{"family":"Anders Hultqvist","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:23Z","timestamp":1784282183000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/8563\/8838"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.8563","published":{"date-parts":[[2011,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:51Z","timestamp":1784282991035,"version":"3.55.0"},"posted":{"date-parts":[[2024,2,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T00:00:00Z","timestamp":1708560000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The UVTOWER is a generative installation and interactive performance instrument which produces dense post-rave music.<\/jats:p>\n keywords: Interactive Art, performance, music, musical instruments<\/jats:p>","DOI":"10.22501\/rc.2586198","type":"posted-content","created":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T09:41:10Z","timestamp":1708594870000},"source":"Crossref","is-referenced-by-count":0,"title":["UVTOWER"],"prefix":"10.22501","author":[{"family":"Andrea Guidi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:54Z","timestamp":1784282334000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2586198\/2586197"}},"issued":{"date-parts":[[2024,2,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2586198","published":{"date-parts":[[2024,2,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:59Z","timestamp":1784286299972,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2013,12,16]],"date-time":"2013-12-16T00:00:00Z","timestamp":1387152000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2013,12,16]]},"abstract":"The institutions of classical music could be regarded as sites of performance and production, and the apparatus and situation of performance as material for the composer. My work 'Johannes Brahms Klarinettentrio' revolves around the idea of composing with the situation of the chamber music performance. The composition is an intervention by way of the paranoid-critical method adapted from Dali by architect Rem Koolhaas: A chamber music ensemble is sitting on stage, performing what seems to be Johannes Brahms's Clarinet Trio (1891). But gradually both the music and the interplay between musicians change, thereby altering the expectations of the audience during the course of listening. As the piece unfolds, the acoustic instruments are overtaken by electronic equipment and sounds. The work is an attempt to challenge the tranquilising flow of chamber music, to open the situation to the possibility of the unexpected.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.23627","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T05:52:34Z","timestamp":1492408354000},"source":"Crossref","is-referenced-by-count":0,"title":["Delirious Brahms"],"prefix":"10.22501","author":[{"family":"Eivind Buene","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:16:47Z","timestamp":1784283407000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/23627\/23628"}},"issued":{"date-parts":[[2013,12,16]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/jar.23627","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2013,12,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:09Z","timestamp":1784290089875,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"09","license":[{"start":{"date-parts":[[2015,5,7]],"date-time":"2015-05-07T00:00:00Z","timestamp":1430956800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,5,7]]},"abstract":"The task of producing a score for new experiential types of media and transmedia presents a number of exciting possibilities for the composer. Indeed, the musical experience is a profoundly personal one; deeply held and ideologically informed expectations could risk limiting the role of music in exploratory new pervasive drama pieces to a pseudo-filmic Muzak. Just as the traditional modes of story-telling are rethought and exploded across a new and emergent diegetic plane, the role of music should likewise be radically rethought so as to rewrite its immersive potential. Drawing upon my experience as composer for The Memory Dealer, this article will give critical insight into the collaborative process of both composing and realizing the soundtrack for new emergent, adaptive, and pervasive theatre works. It offers a discussion of my own creative processes and aesthetic concerns as well as an in-depth account of the technological and collaborative realities of this particular project.<\/jats:p>\n keywords: Dynamic and adaptive composition, nonlinearity, soundscape, soundwalk, film score, video game score, immersion, dynamic and adaptive composition<\/jats:p>","DOI":"10.22501\/jss.148789","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:32Z","timestamp":1733131652000},"source":"Crossref","is-referenced-by-count":0,"title":["Composing for the Memory Dealer: New Paradigms for the Immersive Soundtrack"],"prefix":"10.22501","author":[{"family":"Alex Kolassa","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:52:08Z","timestamp":1784289128000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/148789\/149253"}},"issued":{"date-parts":[[2015,5,7]]},"references-count":0,"journal-issue":{"issue":"09"},"URL":"https:\/\/doi.org\/10.22501\/jss.148789","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2015,5,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:59Z","timestamp":1784282999527,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Theory of MisplacementBy Dorian Vale\u2014 A Treatise in the Post-Interpretive MovementTheory of Misplacement is a foundational treatise in the Post-Interpretive canon developed by Dorian Vale. It identifies a crucial but often ignored aesthetic violence: the misplacement of art through curatorial overreach, critical projection, or institutional dislocation. Unlike theories that focus solely on interpretation, this theory addresses what happens when a work is placed\u2014physically, linguistically, or contextually\u2014into a space that distorts its moral, cultural, or spiritual gravity.Vale argues that not all aesthetic violence is enacted through misreading. Some is enacted through mis-siting\u2014when works are exhibited without regard for their ontological weight, placed in institutional frames that suffocate their resonance, or paired with language that collapses their dignity.This treatise outlines the differences between interpretation, erasure, and misplacement, showing how the latter often masquerades as reverence while enacting dilution.Through philosophical analysis, metaphysical framing, and case-based reflection, Theory of Misplacement refines the post-interpretive imperative:Not only must the critic resist speaking on behalf of the work \u2014 they must also ensure the work is not spoken over by its surroundings.This theory complements Absential Aesthetics and Stillmark Theory in establishing a new custodial vocabulary for protecting the sanctity of placement, presence, and poetic truth in contemporary aesthetics.Vale, Dorian. Theory of Misplacement. Museum of One, 2025. DOI:10.5281\/zenodo.17057848 Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Viewer as Evidence Theory, Aesthetic Recursion, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Art Theory, Aesthetics, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Part of the Post-Interpretive Criticism movement (Q136308909), published by Museum of One (Q136308879), authored by Dorian Vale (Q136308916), Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Language as Custody, Interpretation vs. Witnessing, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.3921585","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T07:28:32Z","timestamp":1759908512000},"source":"Crossref","is-referenced-by-count":0,"title":["Theory of Misplacement"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:48Z","timestamp":1784282268000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921585\/3921584"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921585","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:26Z","timestamp":1784283026498,"version":"3.55.0"},"posted":{"date-parts":[[2025,2,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,23]],"date-time":"2025-02-23T00:00:00Z","timestamp":1740268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Denne siden inneholder foto- og lyd-dokumentasjon av leirevandringene som er en del av det kunstneriske resultatet av det kunstneriske doktorgradsprosjektet \"Jording med (bl\u00e5)leire\". \/This page contains photo and audio documentation of the clay wanderings, which are part of the artistic outcome of the artistic doctoral project \"Grounding with (Blue) Clay.\"<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, dokumentasjon, leirevandringer, claywandering, interactive art, situated knowledge, situert kunnskap<\/jats:p>","DOI":"10.22501\/rc.3154451","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:06:38Z","timestamp":1740722798000},"source":"Crossref","is-referenced-by-count":0,"title":["Dokumentasjon av leirevandringene \/ Documentation of the clay wanderings"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:23Z","timestamp":1784282303000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3154451\/3154026"}},"issued":{"date-parts":[[2025,2,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3154451","published":{"date-parts":[[2025,2,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:47Z","timestamp":1784289827434,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T00:00:00Z","timestamp":1591574400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,8]]},"abstract":"The structure and dynamics of worldly spaces are neighbourhoodly. In them, different kinds of life forms are connected, in a sharing relation, whether they like it or not. The other facet of the same coin is co-isolation and a state of shared closure. Any position from loving and intimate to aggressive or forced, from solidarity to imprisonment, is detached to and depicted through spatial relations. Infected by the \u201cinterpretation of foams\u201d in the final volume of Peter Sloterdijk\u2019s Spheres trilogy, I chose to take foam architecture onto a surgical table and take a closer look at its spatial, material, metaphorical and conceptual implications. I became driven in making inquieries on co-joined spatiality characterized by the \u201contological nervousness of the co-existent, the other, the outer\u201d.[1]The Foaming Exercises installation was part of one of the research cells of the Research Pavilion #3 and became the first part of an (ongoing) examination of spatial co-existencies. Since then, the study has evolved into an ongoing further study on co-joined spatialities in relation to the emancipatory potential of spatial practices in urban context.<\/jats:p>\n keywords: Coexistence, materiality\/material-based research, materiality, material-based research, foam, foams, spatial practices<\/jats:p>","DOI":"10.22501\/ruu.698263","type":"journal-article","created":{"date-parts":[[2020,6,7]],"date-time":"2020-06-07T23:28:50Z","timestamp":1591572530000},"source":"Crossref","is-referenced-by-count":0,"title":["from foaming exercises to scenarios of co-existencies \u2013 anticipating emancipatory practices of space"],"prefix":"10.22501","author":[{"family":"Maiju Loukola","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:11:31Z","timestamp":1784286691000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/698263\/698264"}},"issued":{"date-parts":[[2020,6,8]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.698263","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2020,6,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:58Z","timestamp":1784286538946,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2014,9,5]],"date-time":"2014-09-05T00:00:00Z","timestamp":1409875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Carlos Leal Card\u00ednMain Subject: Violoncello Research Coach: Bart van OortTitle of Research: Luigi Boccherini. Patronage and musical life in Madrid between 1768 and 1805.Research Question: How was Boccherini\u2019s work determined by its social function and his musical environment? Was the musical scene in Madrid comparable to the one in other European capitals?Research Process: I have tried to reconstruct the musical landscape in which Boccherini lived and worked for almost 40 years in Spain by analyzing several aspects of the musical life: concert life, musical institutions, patronage and music printing and trade. It is therefore a historical research based on available bibliography as well as in sources of the period.Summary of Results: Luigi Boccherini lived in Madrid or near for almost 40 years. Throughout of the 18th century there were many attempts in Spain to modernize the society, the economy and of course the culture, trying to get a closer position to the leading nations of that time. In music this resulted in the development of public concerts and opera performances, very much in the line of the spirit of the Enlightenment. But at the same time there was a lack of dissemination of printed music due to the absence of a strong musical press. That\u2019s why Boccherini published his works outside Spain where the middleclass amateur players were much more abundant. During 10 of his years in Spain Boccherini enjoyed the patronage of the infante don Luis under such favorable terms that can be compared to the situation of Haydn with the Prince Eszterhazy. We could say that even being so far from the big musical centers -Viena, Paris and London- the circumstances in which he developed his career were not so different from other composers of the time.<\/jats:p>\n keywords: Boccherini, Spain, concert life, violoncello<\/jats:p>","DOI":"10.22501\/koncon.37717","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:49:54Z","timestamp":1725907794000},"source":"Crossref","is-referenced-by-count":0,"title":["Luigi Boccherini: patronage and musical life in Madrid between 1768 and 1805"],"prefix":"10.22501","author":[{"family":"Carlos Leal Card\u00edn","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:58:48Z","timestamp":1784285928000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/37717\/65610"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.37717","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:56Z","timestamp":1784369036212,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2021,3,15]],"date-time":"2021-03-15T00:00:00Z","timestamp":1615766400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,3,15]]},"abstract":"The courtyard, laundry room, and areas for beating carpets are collective facilities in the private sphere of the home. In Stockholm you can find carpet hangers in connection to many apartment blocks even though they are very seldom used nowadays. The act of whipping carpets is an act that aims to get rid of the dirt \u2013 the remnants of life. Cleaning is a repetitive work, where something needs to be done over and over again without it producing something new.The project\u00a0Piskan st\u00e4llningen\u00a0consists of an essay, sound pieces, and sketches in different materials and is divided into three parts; the one who beats, the beater itself, and that which constitutes a stand for the beating. The various associations to the\u00a0carpet hanger\u00a0and the\u00a0carpet beater\u00a0form the basis of the project that centres around questions concerning repetition and productivity, place and time, the boundary between the public and the domestic sphere, and how dangerous the pursuit of alleged purity, hygiene, science, and light can be.\u00a0Through text, sound and images, personal and collective memories, and the object's associations regarding reproductive labour, city planning, violence, the welfare project, and childish games are intertwined.\u00a0The material also contains other associations to control and power \u2013 with the whip as a means of threat and punishment, and an exploration of different forms of emptiness in relation to architecture, social structures, and mental space.\u00a0Through a younger and an elderly woman's narrative voice, we follow an associative thought chain that interweaves the public, the domestic, and a bodily sphere. The setting is a society where she comes home from work to yet another form of monotonous routines, where cars get burned down, and tables are placed under vases, whilst someone has been digging a hole down in the city.\u00a0Through sketches in different materials, I approach the carpet beater by exploring its shape. My attempts to repeat the knots lead to a series of variations on the memory of whips where mistakes constitute the basis of new forms.\u00a0In the project repetition and variations in sound, text, and drawing becomes another way of approaching repetitive work<\/jats:p>\n keywords: Reproductive labour, The welfare state, Porosity, Repetition, memory, productive\/unproductive, monument, public\/domestic\/bodily space, Mikrohistorier, Konstfack portal - peer reviewed<\/jats:p>","DOI":"10.22501\/vis.916090","type":"journal-article","created":{"date-parts":[[2021,3,14]],"date-time":"2021-03-14T19:09:06Z","timestamp":1615748946000},"source":"Crossref","is-referenced-by-count":0,"title":["Piskan st\u00e4llningen"],"prefix":"10.22501","author":[{"family":"Livia Prawitz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:13:18Z","timestamp":1784365998000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/916090\/916215"}},"issued":{"date-parts":[[2021,3,15]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/vis.916090","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2021,3,15]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:45Z","timestamp":1784286345984,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,5,17]],"date-time":"2023-05-17T00:00:00Z","timestamp":1684281600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,17]]},"abstract":"Alb\u00e9niz was one of Celia\u2019s favorite composers from her childhood and always felt a special connection to his work. However, in the fifteen long years that she has been studying music, she has never been able to play any of his pieces on the bassoon. Now that she has finished her master's degree -and she had to reflect on where she comes from and, ultimately, who she is-, she decided to investigate the composer in depth with the aim of arranging his Spanish Suite, originally written for piano, so that at the end of so many things, she can interpret it with her reed quintet.Thanks to its flexibility and wide palette of colors, sound, and articulation, the combination of reed instruments achieves a greater range of register and color, and provides Alb\u00e9niz's music, inspired by elements of flamenco and Spanish folklore such as cante jondo, a texture and expressiveness that evokes the human voice.Caire Reed Quintet was formed in 2020, in the midst of the Covid19 pandemic crisis. The five of them are from Spain and they share the same passion for Alb\u00e9niz. With this work the author wishes to offer other composers and performers the opportunity to discover, learn and experience how much the reed quintet's sonority can contribute to certain styles of music such as Spanish nationalist, reaching a greater range of register and color, and endowing this style of music from a new perspective.<\/jats:p>\n keywords: Albeniz, suite espa\u00f1ola, reed quintet, arrangement<\/jats:p>","DOI":"10.22501\/koncon.1826178","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:15Z","timestamp":1725907035000},"source":"Crossref","is-referenced-by-count":0,"title":["Albeniz, from the piano to the wind"],"prefix":"10.22501","author":[{"family":"Celia Matamoro","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:31:50Z","timestamp":1784284310000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1826178\/1972406"}},"issued":{"date-parts":[[2023,5,17]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1826178","published":{"date-parts":[[2023,5,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:02Z","timestamp":1784289902295,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"27","license":[{"start":{"date-parts":[[2025,10,9]],"date-time":"2025-10-09T00:00:00Z","timestamp":1759968000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2025,10,9]]},"abstract":"This article provides an overview and analysis of transformations of the Belarusian political soundscape. Based on the author\u2019s archive of audio recordings made in Minsk and other Belarusian cities in 2016-2023, the article analyzes how protesters and the authorities used voices, noises, and music during the major political protests of recent years. The field recordings became the starting points for a further discussion on the multifaceted role of sound, music, and silence in contesting for urban and political space in Belarus. The \u201cloudest\u201d period in the country\u2019s recent history is then put in a wider context of studying the clashing ideologies of the authoritarian regime and the democratic, pro-independence movement. The study of audio materials is accompanied by participant observations, interviews, and an extensive analysis of Belarusian and international media that reveal various sonic practices used by the country\u2019s and its critics. The primary goal of this article is to address the gaps in studies of the contemporary Belarusian political soundscape and independent music scenes.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.3261897","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T03:11:05Z","timestamp":1743649865000},"source":"Crossref","is-referenced-by-count":0,"title":["Voices, Noises, and Silence in the Political Soundscape of Belarus"],"prefix":"10.22501","author":[{"family":"Pavel Niakhayeu","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:28:26Z","timestamp":1784287706000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3261897\/3261898"}},"issued":{"date-parts":[[2025,10,9]]},"references-count":0,"journal-issue":{"issue":"27"},"URL":"https:\/\/doi.org\/10.22501\/jss.3261897","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2025,10,9]]}},{"indexed":{"date-parts":[[2023,3,9]],"date-time":"2023-03-09T05:45:57Z","timestamp":1678340757540},"reference-count":0,"publisher":"Society for Artistic Research","issue":"01","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["University of Applied Arts Vienna"],"published-print":{"date-parts":[[2023,3,8]]},"DOI":"10.22501\/repos.1841006","type":"journal-article","created":{"date-parts":[[2023,3,8]],"date-time":"2023-03-08T20:09:46Z","timestamp":1678306186000},"source":"Crossref","is-referenced-by-count":0,"title":["Nothingness in the digital Space"],"prefix":"10.22501","author":[{"family":"Valerie Messini","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["University of Applied Arts Vienna"],"language":"en","deposited":{"date-parts":[[2023,3,8]],"date-time":"2023-03-08T20:09:50Z","timestamp":1678306190000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1841006\/1841007"}},"issued":{"date-parts":[[2023,3,8]]},"references-count":0,"journal-issue":{"issue":"01"},"URL":"https:\/\/doi.org\/10.22501\/repos.1841006","published":{"date-parts":[[2023,3,8]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:03Z","timestamp":1742358183216,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0051","type":"journal-article","created":{"date-parts":[[2021,12,30]],"date-time":"2021-12-30T15:27:41Z","timestamp":1640878061000},"source":"Crossref","is-referenced-by-count":0,"title":["The Digital Stage: a new online audiovisual system for acting, performance, dance and music"],"prefix":"10.22501","author":[{"given":"Stefan","family":"Winter","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Fee","family":"Altmann","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Julian","family":"Klein","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2021]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:19Z","timestamp":1742292199000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/digital-stage-new-online-audiovisual-system-acting-performance-dance-and-music"}},"issued":{"date-parts":[[2021]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0051","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2021]]}},{"indexed":{"date-parts":[[2023,1,14]],"date-time":"2023-01-14T12:50:53Z","timestamp":1673700653759},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"published-print":{"date-parts":[[2016]]},"DOI":"10.22501\/254382","type":"journal-article","created":{"date-parts":[[2017,2,28]],"date-time":"2017-02-28T10:46:02Z","timestamp":1488278762000},"source":"Crossref","is-referenced-by-count":1,"title":["Moving through the double vortex"],"prefix":"10.22501","author":[{"given":"Jan","family":"Schacher","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]},{"given":"Patrick","family":"Neff","sequence":"additional","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2016]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2017,2,28]],"date-time":"2017-02-28T10:46:06Z","timestamp":1488278766000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/254382\/318886"}},"issued":{"date-parts":[[2016]]},"references-count":0,"journal-issue":{"issue":"12","published-online":{"date-parts":[[2016]]},"published-print":{"date-parts":[[2016]]}},"URL":"https:\/\/doi.org\/10.22501\/254382","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2016]]}},{"indexed":{"date-parts":[[2022,3,29]],"date-time":"2022-03-29T02:19:27Z","timestamp":1648520367395},"posted":{"date-parts":[[2020,10,26]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1025146","type":"posted-content","created":{"date-parts":[[2020,10,26]],"date-time":"2020-10-26T05:21:15Z","timestamp":1603689675000},"source":"Crossref","is-referenced-by-count":0,"title":["the second masking"],"prefix":"10.22501","author":[{"family":"Corey Mwamba","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2020,10,26]],"date-time":"2020-10-26T05:21:16Z","timestamp":1603689676000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1025146\/1025147"}},"issued":{"date-parts":[[2020,10,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1025146","published":{"date-parts":[[2020,10,26]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:09Z","timestamp":1784289909050,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"23","license":[{"start":{"date-parts":[[2022,6,3]],"date-time":"2022-06-03T00:00:00Z","timestamp":1654214400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2022,6,3]]},"abstract":"Monuments exist as loci of official history, designed to be resilient and permanent. However, the world around them is in constant flux, questioning their continued significance. Drawing on fieldwork undertaken at monument (spomenik) sites in the former Yugoslav republics of the Western Balkans, together with archival sources, A Spectral Geology is a creative outcome of a continuing speculative investigation into sound and its potential contribution to alternative historical narratives. In imagining sound as a geological, sedimentary medium with the potential to transmit and sequester memory, it considers the possibility of hearing the murmured traces of the past through its excavation.<\/jats:p>\n keywords: sonic traces, sonic geology, memory, history, spomeniks, yugoslavia, the balkans, monument sites, field recording, archival practice, sonic materialism<\/jats:p>","DOI":"10.22501\/jss.1154233","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:18Z","timestamp":1733131518000},"source":"Crossref","is-referenced-by-count":0,"title":["A Spectral Geology"],"prefix":"10.22501","author":[{"family":"D.A. Calf","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:33:57Z","timestamp":1784288037000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1154233\/1154234"}},"issued":{"date-parts":[[2022,6,3]]},"references-count":0,"journal-issue":{"issue":"23"},"URL":"https:\/\/doi.org\/10.22501\/jss.1154233","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2022,6,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:22Z","timestamp":1784286502639,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,7,19]],"date-time":"2017-07-19T00:00:00Z","timestamp":1500422400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,7,19]]},"abstract":"AbstractName: Timothy DowlingMain Subject: TromboneResearch Supervisor: Charles ToetTitle of research: \u201cSearching for Sattler; Reproducing a Romantic Trombone\u201d. The history and development of the trombone, particularly in Leipzig, between Beethoven\u2019s Fifth and Schumann\u2019s Rhenish Symphonies, 1808-1851Research Question: Does the prevailing tendency within the so-called \u201cHistorically Informed\u201d performance tradition of performing early nineteenth century German composers\u2019 trombone parts on narrow bore classical( or even baroque) reproduction instruments or modern German trombones truly reflect the performance practice of the trombonists performing in orchestras within the time period of this study? What were the instruments used by the original performers? Who were the builders of these instruments and what were their dimensions? Is it now possible to build a truly idiomatic mid nineteenth century German style trombone based upon traditional techniques that truly reflects the sound world of the early nineteenth century orchestra?Summary of results: After extensively examining in detail the use of trombones in orchestras between 1808 and 1851 in an historical context, I have concluded that the current common practice of performing the trombone parts of the music of mid century German composers such as Mendelssohn and Schumann on the standard reproduction classical trombones of three different sizes and pitches : alto, tenor, and bass, is unlikely to be an accurate representation of the instruments used, particularly in Leipzig, during the time period of Mendelssohn\u2019s directorship of the Gewandhaus Orchestra, where most of this repertoire was first performed. After meeting instrument builders, instrument collectors, and viewing and measuring many instruments in museums and private collections, I have concluded that it is possible and desirable to design and build a set of Romantic reproduction trombones based on models of the Leipzig master instrument builder Christian Friedrich Sattler and his successor Johann Christoph Penzel, that could accurately represent the trombone sound for which Mendelssohn and Schumann wrote. In this study I have made a detailed proposal (within the scope of my expertise) as to how these instruments should be built and it is my fervent hope that in so doing I can add to the understanding and advancement of nineteenth century trombone performance practice among trombonists for both \u201cauthentic\u201d performance practitioners and modern symphonic trombonists.Biography:Melbourne-born trombonist Timothy Dowling began his professional career in Australia in 1979, performing in four different Australian orchestras before being appointed to his current position of solo trombonist of the Residentie Orchestra in The Hague in 1988. He is also a noted performer on historical instruments, and is a founder member of baroque ensemble In Stil Moderno and is currently principal trombonist with Anima Eterna Bruges. He has been teaching modern trombone at the Royal Conservatoire since 2006.<\/jats:p>\n keywords: Trombone, Christoph Penzel, Christian Friedrich Sattler, instrument building, 19th century, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.360420","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:46:37Z","timestamp":1725907597000},"source":"Crossref","is-referenced-by-count":0,"title":["Searching for Sattler"],"prefix":"10.22501","author":[{"family":"Timothy Dowling (KC)","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:51:43Z","timestamp":1784285503000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/360420\/360421"}},"issued":{"date-parts":[[2017,7,19]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.360420","published":{"date-parts":[[2017,7,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:07Z","timestamp":1784286247538,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T00:00:00Z","timestamp":1512864000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,12,10]]},"abstract":"The Salford Samples is a practice-as-research project in intermedial place-making. Using materials that arise from the city of Salford, including fragments of its cultural history, an autobiographical audio diary, and images\/footage of the place itself, a range of shifting combinations are created. Through the mixing of diverse materials, as part of live performances and in online 'video-texts', issues related to this fast-moving, redeveloping, and conversely traditional and static place, arise. Specifically, questions around 'solastalgia' or 'the distress that is produced by environmental change impacting on people while they are directly connected to their home environment\u2019 (Albrecht et al. 2007, 95) emerge. In addition, these factors both foster and disrupt 'place-attachment' in a contemporary urban environment.<\/jats:p>\n keywords: intermediality, Salford, solastalgia, place-attachment, cultural memory, urban regeneration<\/jats:p>","DOI":"10.22501\/jar.301815","type":"journal-article","created":{"date-parts":[[2017,12,10]],"date-time":"2017-12-10T17:27:25Z","timestamp":1512926845000},"source":"Crossref","is-referenced-by-count":0,"title":["The Salford samples"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-4768-8175","authenticated-orcid":false,"family":"Joanne Scott","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:14Z","timestamp":1784283074000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/301815\/301816"}},"issued":{"date-parts":[[2017,12,10]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/jar.301815","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2017,12,10]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:56Z","timestamp":1784282936949,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,25]],"date-time":"2025-10-25T00:00:00Z","timestamp":1761350400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The histories, stories, and names of Chinese railroad workers who dedicated their lives to constructing the U.S. Transcontinental Railroad have remained in the shadows for over a century. Completed in 1869, the railroad was a monumental achievement in America\u2019s \u2018Manifest Destiny\u2019 during the nineteenth century. But despite their contributions, the Chinese laborers have not received the recognition they deserve. This project seeks to remember Chinese railroad workers via arts-based research methods (ABR). Archives are not merely repositories of the past but also products of political power. In this light, the project poses a key methodological question: How can art-making critically reconfigure the power of archives and lost history? We seek to ask questions, initiate a dialogue, acknowledge the absence, and give form to the invisible. Building upon the historical recovery work of previous scholars, we reconstruct fragmented pieces through remixed artworks. The current article highlights key artworks that demonstrate the scope and variety of a much larger project (Yu 2025b). We dedicate this work to the Chinese master railroad builders\u2013\u2013to the great-grandfathers\u2013\u2013whose stories and names demand remembrance.<\/jats:p>\n keywords: AI ART, Archival Research, Arts-Based Research, Chinese Diaspora, Digital Art, U.S. Transcontinental Railroad<\/jats:p>","DOI":"10.22501\/rc.3602132","type":"posted-content","created":{"date-parts":[[2025,10,25]],"date-time":"2025-10-25T12:31:27Z","timestamp":1761395487000},"source":"Crossref","is-referenced-by-count":0,"title":["Beneath the Steel: Chinese Railroad Workers, Lost Histories, and Art as Remembrance"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0007-3728-1300","authenticated-orcid":false,"family":"Haoqing Yu","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"ORCID":"https:\/\/orcid.org\/0000-0001-5622-022X","authenticated-orcid":false,"family":"J.R. Osborn","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:42Z","timestamp":1784282262000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3602132\/3644184"}},"issued":{"date-parts":[[2025,10,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3602132","published":{"date-parts":[[2025,10,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:29Z","timestamp":1784282969121,"version":"3.55.0"},"posted":{"date-parts":[[2026,6,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,6,18]],"date-time":"2026-06-18T00:00:00Z","timestamp":1781740800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition will span a timeline from the online meeting Art, Ecology, Emergency: Sustaining Practice, coordinated by the Eden Project, that took place under lockdown in 2020, through to the summer of 2021 and an event in a series of fields on the Lizard in Cornwall. This paper will draw on the methodological development of Bibliotherapy for the Anthropocene, which is a performance in the guise of a reading group, a cross between a Quaker meeting and a reconvening of the Dead Poets Society, and subsequently a collaboration with the University of Cambridge\u2019s Centre for the Study of Existential Risk. Throughout this paper, the author will evidence how arts practices that are cyclical and performative can embed creativity and democracy into conversations taking place in and around landscape decision-making.<\/jats:p>\n keywords: Anthropocene, Anthroposcene, ecology, bibliography, therapy, Economics, polycrisis, performance; re-enactment; landspace; site; environment;<\/jats:p>","DOI":"10.22501\/rc.4490775","type":"posted-content","created":{"date-parts":[[2026,6,18]],"date-time":"2026-06-18T11:08:47Z","timestamp":1781780927000},"source":"Crossref","is-referenced-by-count":0,"title":["Intrinsic Values_Production and Consumption in Bibliotherapy for the Anthropocene"],"prefix":"10.22501","author":[{"family":"Bram Thomas Arnold","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:32Z","timestamp":1784282192000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4490775\/4490776"}},"issued":{"date-parts":[[2026,6,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4490775","published":{"date-parts":[[2026,6,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:46Z","timestamp":1784283046609,"version":"3.55.0"},"posted":{"date-parts":[[2012,4,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2012,4,6]],"date-time":"2012-04-06T00:00:00Z","timestamp":1333670400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I\u2019ll be gone was a project in which two groups of students from different backgrounds and theatre traditions worked together with artist Peter Missotten to create a performance at the Maastricht Theatre School. In the project they explored virtual technologies as part of a larger project called The Virtual Body. In order to research the way in which virtuality was at stake in the project, a documentation of the working process was made. The documentation aims to discuss as well as embody issues that are also at stake in performance and virtuality \u2013 such as the relationship between real\/non-real and live\/non-live. Moreover, the documentation tries to take seriously questions about why, how and for whom one would want to maintain what to all intents and purposes has gone: I\u2019ll be gone.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.5496","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:42Z","timestamp":1498053342000},"source":"Crossref","is-referenced-by-count":0,"title":["I'll be Gone Again: Documenting the Virtual Body"],"prefix":"10.22501","author":[{"family":"Ruth Benschop","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:09Z","timestamp":1784282469000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/5496\/5497"}},"issued":{"date-parts":[[2012,4,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.5496","published":{"date-parts":[[2012,4,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:11Z","timestamp":1742294411932,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0020","type":"journal-article","created":{"date-parts":[[2019,12,20]],"date-time":"2019-12-20T10:42:18Z","timestamp":1576838538000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Michael Schwab (ed.), \"Transpositions. Aesthetico-Epistemic Operators in Artistic Research\""],"prefix":"10.22501","author":[{"given":"Theodor","family":"Barth","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,12,13]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:57Z","timestamp":1742292177000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-michael-schwab-ed-transpositions-aesthetico-epistemic-operators-artistic-research"}},"issued":{"date-parts":[[2019,12,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0020","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,12,13]]}},{"indexed":{"date-parts":[[2025,3,1]],"date-time":"2025-03-01T05:29:16Z","timestamp":1740806956145,"version":"3.38.0"},"posted":{"date-parts":[[2025,2,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,26]],"date-time":"2025-02-26T00:00:00Z","timestamp":1740528000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Meet the Yunani\u00a0is my mix-up audio-visual-inscriptive artwork for the Unani or Yunani systems of medicine that are deployed in medical fraud. I deploy cognitive philosophy, art and science in this webart for the real settings of scientific hoaxes, the illusions concealed through prescribed fictions, and represented as the real.\u00a0A\u00a0mix-up audio-visual-inscriptive\u00a0artwork for\u00a0the Yunani, often touted as a \"traditional\" and \"holistic\" approach to\u00a0health and well-being. In truth, the various versions of deploying Unani in medicine\u00a0is inothing more than a parascientific hoax perpetrated by those aiming to capitalize on the growing demand for \"alternative\" and \u201cnatural\u201d remedies. Unani (\u06cc\u0648\u0646\u0627\u0646\u06cc)\u00a0is simply a rebranding of the Perso-Arabic medical traditions, which in turn were heavily influenced by the teachings of the ancient Greek physician Hippocrates, who, while pioneering advances in the human anatomy and physiology, also promoted a flawed model of the human body and health based on the concept of the four humours - blood, phlegm, yellow bile, and black bile. Unani practitioners of the Perso-Arabic medical traditional medicine, accompanied by Judeo-Hellenic adaptations\u00a0represented with the\u00a0neoplatonistic tree of life\u00a0sefirot\u00a0(\u05e1\u05b0\u05e4\u05b4\u05d9\u05e8\u05d5\u05b9\u05ea \/ \u03c3\u03c6\u03b1\u03af\u03c1\u03b1), Greek humours or \"do\u1e63as\" (\u0926\u094b\u0937)\u00a0from the\u00a0Ayurvedic medicine claim to have inherited this ancient Greek wisdom. In truth they have merely taken these outdated and disproven theories, given them an exotic-sounding name, and presented them as traditional wisdom. Unani's diagnostic methods and treatment approaches, from bloodletting to the use of arcane herbal concoctions, lack scientific bases and were thoroughly debunked by modern medical research. The allure of this \u201cancient wisdom\u201d, however, continues to draw those in need of alternative healthcare, without knowing that they are falling victim to a sophisticated marketing ploy masquerading as traditional medicine. The Unani's mystical trappings are nothing more than a pseudoscientific hoax rooted in long-refuted Greek four humour theory.<\/jats:p>\n keywords: <\/jats:p>","DOI":"10.22501\/rc.3446699","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:08:17Z","timestamp":1740740897000},"source":"Crossref","is-referenced-by-count":0,"title":["Meet the Yunani"],"prefix":"10.22501","author":[{"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T11:08:17Z","timestamp":1740740897000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3446699\/3446698"}},"issued":{"date-parts":[[2025,2,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3446699","published":{"date-parts":[[2025,2,26]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2025,1,5]],"date-time":"2025-01-05T05:21:01Z","timestamp":1736054461105,"version":"3.32.0"},"posted":{"date-parts":[[2025,1,4]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Hundreds of faces are arranged in a strict order.\nHundreds of faces are hundreds of voices.\nHundreds of stories answering the same simple question: \u201cWhat have they never told you?\u201d\nThe faces seek the words, and the words seek the faces. It\u2019s a silent dialogue, a cemetery of glances and suspended phrases.\nEverything is held up by light, thin, fragile pins. The images sway, in a precarious balance. Silences that weigh heavily. Breaths long denied.\nHundreds of stories. Hundreds of confessions. An unyielding and necessary order.\nI am building the cemetery of doubt: a space where unspoken words, unresolved secrets, and incomplete emotions finally find peace.<\/jats:p>","DOI":"10.22501\/rc.3308025","type":"posted-content","created":{"date-parts":[[2025,1,4]],"date-time":"2025-01-04T15:56:22Z","timestamp":1736006182000},"source":"Crossref","is-referenced-by-count":0,"title":["Untitled (Quale \u00e8 l'ultima parola che non vi siete detti?)"],"prefix":"10.22501","author":[{"family":"Gianluca Di Francesco","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,1,4]],"date-time":"2025-01-04T15:56:23Z","timestamp":1736006183000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3308025\/3308046"}},"issued":{"date-parts":[[2025,1,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3308025","published":{"date-parts":[[2025,1,4]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:22:57Z","timestamp":1725927777282},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"DOI":"10.22501\/koncon.1544381","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:33:10Z","timestamp":1725874390000},"source":"Crossref","is-referenced-by-count":0,"title":["\u00c9vocations by Henry Tomasi: a Pedagogical and performative proposal"],"prefix":"10.22501","author":[{"family":"Mar\u00eda Teresa\u00a0Mart\u00ednez\u00a0Risue\u00f1o","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T09:33:11Z","timestamp":1725874391000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1544381\/1544382"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1544381","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:23:07Z","timestamp":1742358187806,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0018","type":"journal-article","created":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T09:12:22Z","timestamp":1561713142000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Barbara L\u00fcneburg, \"TransCoding \u2013 From \u2018Highbrow Art\u2019 to Participatory Culture\""],"prefix":"10.22501","author":[{"given":"Pamela","family":"Breda","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,6,23]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:55Z","timestamp":1742292175000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-barbara-luneburg-transcoding-highbrow-art-participatory-culture"}},"issued":{"date-parts":[[2019,6,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0018","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,6,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:41Z","timestamp":1784286341967,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2011,11,20]]},"abstract":"The exposition introduces the artist\u2019s research into the concept of \u2018place\u2019. To do this, the weave has been conceived of as a place in itself and as a space for mapping some fundamental considerations implicit in the artist\u2019s own practice. Layering image, moving image and text, the exposition seeks to avoid illustration, denying an explanatory relationship between the text and image or vice versa. Rather, in form and tone it seeks to make sense in a sort of delayed time \u2014 over time \u2014 little by little, as a collage of the different ideas, which form practice. The exposition is brought together as a momentary presentation, as part of an ongoing reflection, as fragments of a particular train of thought that expand, like a drawing, over time.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.12162","type":"journal-article","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:05Z","timestamp":1497983825000},"source":"Crossref","is-referenced-by-count":0,"title":["A Place, Constructed"],"prefix":"10.22501","author":[{"family":"Laura F. Gibellini","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:19:06Z","timestamp":1784283546000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/12162\/12163"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/jar.12162","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2011,11,20]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:37Z","timestamp":1784282977036,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T00:00:00Z","timestamp":1774396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Exhibition 2023Curated by Julia Galea and Matthew Galea<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4256818","type":"posted-content","created":{"date-parts":[[2026,3,25]],"date-time":"2026-03-25T13:35:24Z","timestamp":1774445724000},"source":"Crossref","is-referenced-by-count":0,"title":["Hol(e)y"],"prefix":"10.22501","author":[{"family":"Matthew (Matyou) Galea","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:52Z","timestamp":1784282212000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4256818\/4256819"}},"issued":{"date-parts":[[2026,3,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4256818","published":{"date-parts":[[2026,3,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:48Z","timestamp":1784282988102,"version":"3.55.0"},"posted":{"date-parts":[[2019,11,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,11,21]],"date-time":"2019-11-21T00:00:00Z","timestamp":1574294400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The development of digital printing is a major change within the textile design process as a designer is no longer restricted to number of colours, repeat patterns, and may include photographic images and intricate detail. With digital print it is now possible to print anything between a metre, or hundreds of metres, at the click of a button.However, there is a marked difference between screen-colour and print colour. A textiles designer using Computer Aided Design (CAD) to create a design will be required to experiment with a number of variables in order to feel more confident about the outcome when using digital fabric printing.<\/jats:p>\n keywords: Colour, Digital Textile Printing, Printmaking, Textiles<\/jats:p>","DOI":"10.22501\/rc.297618","type":"posted-content","created":{"date-parts":[[2019,11,21]],"date-time":"2019-11-21T07:13:13Z","timestamp":1574320393000},"source":"Crossref","is-referenced-by-count":0,"title":["The variables that affect colour in the digital textile printing process"],"prefix":"10.22501","author":[{"family":"Becky Gooby","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:42Z","timestamp":1784282442000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/297618\/297619"}},"issued":{"date-parts":[[2019,11,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.297618","published":{"date-parts":[[2019,11,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,4,16]],"date-time":"2026-04-16T13:11:30Z","timestamp":1776345090348,"version":"3.51.2"},"reference-count":0,"publisher":"jar-online.net","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/jarnet.0031","type":"report","created":{"date-parts":[[2020,7,15]],"date-time":"2020-07-15T05:11:55Z","timestamp":1594789915000},"source":"Crossref","is-referenced-by-count":1,"title":["Review of Natalie Loveless (ed.) \u201cKnowings and Knots: Methodologies and Ecologies in Research-Creation\u201d"],"prefix":"10.22501","author":[{"given":"Jennifer","family":"Clarke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2020,7,15]]},"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:03:04Z","timestamp":1742292184000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-natalie-loveless-ed-knowings-and-knots-methodologies-and-ecologies-research-creation"}},"issued":{"date-parts":[[2020,7,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0031","published":{"date-parts":[[2020,7,15]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:12Z","timestamp":1784365872026,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,6,25]],"date-time":"2024-06-25T00:00:00Z","timestamp":1719273600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2024,6,25]]},"abstract":"I denne research-creation oppgaven har jeg utforsket hvordan gitarister tar i bruk kreative verkt\u00f8y for \u00e5 utl\u00f8se og realisere id\u00e9er. Jeg har i l\u00f8pet av oppgaven intervjuet et utvalg gitarister samt innhentet data fra lydinnsamling. Som en del av oppgaven har jeg ogs\u00e5 komponert 6 komposisjoner som jeg presenterer i l\u00f8pet av resultatene. I refleksjonen reflekterer jeg rundt samspillet mellom b\u00e5de vitenskapelige og kunstneriske metoder, og funnene som har blitt gjort. Dette har resultert i ny kunnskap b\u00e5de i utl\u00f8snings- og realiserings-stadiet i komponeringsprosessen.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.2750798","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:08:10Z","timestamp":1727179690000},"source":"Crossref","is-referenced-by-count":0,"title":["Id\u00e9-generering for gitarister: Kreative Metoder som utgangspunkt for komposisjon"],"prefix":"10.22501","author":[{"family":"Hans-Kristian Holthe","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:58:42Z","timestamp":1784365122000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2750798\/2750799"}},"issued":{"date-parts":[[2024,6,25]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.2750798","published":{"date-parts":[[2024,6,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:24Z","timestamp":1784283024212,"version":"3.55.0"},"posted":{"date-parts":[[2021,1,6]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,1,6]],"date-time":"2021-01-06T00:00:00Z","timestamp":1609891200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"NO:RESPONSIVT ROM - EN LYTTING INN I MATERIALITET er et dybdes\u00f8k inn i oss og v\u00e5re omgivelser. De kunstneriske arbeidene kan beskrives som st\u00f8rre skulpturelle lydinstallasjoner som beveger seg mellom visuell kunst, scenekunst og lydkunst. Verkene utforsker rom, materiale, lyd, kropp og tid som likeverdige deler i en komposisjon.Forskningens hovedverk INTERFERENS, RESONANS, SEDIMENT, STED 1 og STED 2 er p\u00e5 ulike vis henvendelser til en utvidet opplevelse av dialogen mellom tilstedev\u00e6relse og materialitet. De er omgivelser som s\u00f8ker \u00e5 ber\u00f8re n\u00e6rhetssoner der vi som mennesker kan fornemme at vi inng\u00e5r i en finmasket sammenfletting med det som omgir oss. \u00c5 lytte er av sentral betydning i de kunstneriske unders\u00f8kelsene som arbeider med iscenesettelse av rom gjennom lyd, minimalistisk skulptur og dramaturgiske strukturer.Eksposisjonen er skrevet p\u00e5 norsk.---------ENG:RESPONSIVE SPACE \u2013 SOUNDING INTO MATERIALITY is an in-depth research project into the interrelationship between us and our surroundings. The artworks can be described as large sculptural sound installations which blur the lines between visual art, performing arts and sound art. The works explore space, material, sound, body and time as equal parts in a composition.The main artworks of the research INTERFERENCE, RESONANCE, SEDIMENT, PLACE 1 and PLACE 2 are in a variety of ways inquiries towards an expanded experience of the dialogue between presence and materiality. The artworks are composed environments which respond and take shape and form from their surroundings, seeking to touch proximity zones where we as humans can sense aspects of being closely intertwined with our surroundings. The act of listening is of central importance in the artistic survey. Olaussen stages space utilising the mediums of sound, minimalistic sculpture and dramaturgical structures. The exposition is written in Norwegian.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.946311","type":"posted-content","created":{"date-parts":[[2020,12,18]],"date-time":"2020-12-18T15:20:45Z","timestamp":1608304845000},"source":"Crossref","is-referenced-by-count":0,"title":["Responsivt rom - en lytting inn i materialitet"],"prefix":"10.22501","author":[{"family":"Gunhild Mathea Husvik-Olaussen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:20Z","timestamp":1784282420000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/946311\/946312"}},"issued":{"date-parts":[[2021,1,6]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.946311","published":{"date-parts":[[2021,1,6]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:55Z","timestamp":1784289835315,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T00:00:00Z","timestamp":1560470400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,6,14]]},"abstract":"This exposition presents an explorative project that examines employing material as a reference point for designing and making an artefact. The material\u2019s effects on designing and making have been elaborated upon from many angles. This exposition also examines how material affects designing and making processes from the perspective of material agency. This study argues that by observing a material\u2019s behaviour from the perspective of agency, one can genuinely understand what the material does, and accordingly can find ways to collaborate with it in the process of designing and making artefacts. The discussion is articulated through a designer\u2019s project in felting by employing a practice-led research approach that examined the decision-making processes through written reflections and visual documentation. This examination suggests that by including material as a reference point, design and making can reflect the ecology of the material in a way that combines human power with the activeness of the material.<\/jats:p>\n keywords: wool, felt making, creative practice, materiality, pattern design, practice-led research, material agency<\/jats:p>","DOI":"10.22501\/ruu.453632","type":"journal-article","created":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T05:48:28Z","timestamp":1560491308000},"source":"Crossref","is-referenced-by-count":2,"title":["Using wool\u2019s agency to design and make felted artefacts"],"prefix":"10.22501","author":[{"family":"Bilge Merve Akta\u015f","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:14:08Z","timestamp":1784286848000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/453632\/453633"}},"issued":{"date-parts":[[2019,6,14]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/ruu.453632","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,6,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:53Z","timestamp":1784289953482,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","license":[{"start":{"date-parts":[[2019,7,8]],"date-time":"2019-07-08T00:00:00Z","timestamp":1562544000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2019,7,8]]},"abstract":"In this paper, I discuss the conceptual framework and development of Animas, an artwork which links sounding materials to the Animas River in Colorado. The Animas River is heavily contaminated by leakage from abandoned gold mines, including a 2015 spill in which three million gallons of wastewater were accidentally released into the river by the Environmental Protection Agency (EPA), turning the water a bright orange and threatening agriculture, tourism, and an already \u201cdisturbed\u201d alpine ecology. Animas draws on precedents in sound art and explores transduction as a means of relating to more-than-human agencies and avoiding over-simplified representations of environmental degradation. Changes in the clarity of the water, invisible indicators of the dissolved metals within it, and the dynamics of its daily and seasonal flows all become sound in the gallery, producing timbral \"color\" from the river's continually changing composition\u2014these data are provided by the Southern Ute Water Quality Program and the United States Geological Survey (USGS). The piece acknowledges how our limited temporal sensibilities are challenged by the imbrication of the geologic time of minerals, the historical time of extractive industries, and the immediate urgency of equitable responses to ecological change.<\/jats:p>\n keywords: sonic studies, Journal of sonic studies, sound art, robert smithson, animas river, extractive industries, animacy, Transduction, materialism, sonification, Gold, animism<\/jats:p>","DOI":"10.22501\/jss.482358","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:59Z","timestamp":1733131559000},"source":"Crossref","is-referenced-by-count":0,"title":["Animas: Disaster, Data, and the Resonance of a River"],"prefix":"10.22501","author":[{"family":"Brian House","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:39:56Z","timestamp":1784288396000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/482358\/482359"}},"issued":{"date-parts":[[2019,7,8]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/jss.482358","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2019,7,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995516,"version":"3.55.0"},"posted":{"date-parts":[[2021,4,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,4,24]],"date-time":"2021-04-24T00:00:00Z","timestamp":1619222400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Abstract: Words in Motion is a practice as research project that involves dance, choreography, and literature. The research will consist in three choreographic experimentations in which text will be approached as the starting point to create movement. Each experimentation will involve the creation of a solo piece utilising a different element of the selected text, Caged Bird (1983) by Maya Angelou, which will be unpacked from the perspective of semiotics. The aim of the project is to analyse and compare the experience of creating the three pieces as well as the choreographic results obtained in the three different experimentations.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1085350","type":"posted-content","created":{"date-parts":[[2021,4,24]],"date-time":"2021-04-24T07:39:17Z","timestamp":1619249957000},"source":"Crossref","is-referenced-by-count":0,"title":["Words in Motion"],"prefix":"10.22501","author":[{"family":"Valentina Vidal","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:14Z","timestamp":1784282414000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1085350\/1085351"}},"issued":{"date-parts":[[2021,4,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1085350","published":{"date-parts":[[2021,4,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:19Z","timestamp":1784365879830,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,1,9]],"date-time":"2025-01-09T00:00:00Z","timestamp":1736380800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,1,9]]},"abstract":"This artistic research exposition unfolds the collaborative work on the violin, electronics and video work Solastalgia, from the viewpoint of violinist Karin Hellqvist. Solastalgia is created together with composer Carola Bauckholt and video artist Eric Lanz. During the process, Hellqvist develops the concept of the artistic palette, helping her understand her agency and creativity as a performer. Through sharing materials and reflections from within the artistic process, Hellqvist describes the new work methods that emerge and how they affect the roles of composer and performer. Focus is directed toward ownership, safe space, resources and eco-anxiety. The work\u2019s title is an homage to environmental philosopher Glenn Albrecht\u2019s neologism solastalgia, describing existential distress connected to environmental change. Theory on collaborative composition situate the reflections in the research field that includes Alan Taylor\u2019s typology of working relationships and Lydia Goehr\u2019s concept of Werktreue.<\/jats:p>\n keywords: Collaborative composition, artistic palette, ownership, safe space, Werktreue<\/jats:p>","DOI":"10.22501\/nmh-ar.2881753","type":"journal-article","created":{"date-parts":[[2025,1,9]],"date-time":"2025-01-09T03:25:37Z","timestamp":1736393137000},"source":"Crossref","is-referenced-by-count":0,"title":["Solastalgia \u2013 Toward new collaborative models in an interdisciplinary context"],"prefix":"10.22501","author":[{"family":"Karin Emilia Hellqvist","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:00:09Z","timestamp":1784365209000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2881753\/2881754"}},"issued":{"date-parts":[[2025,1,9]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2881753","published":{"date-parts":[[2025,1,9]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:36Z","timestamp":1784290056250,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"16","license":[{"start":{"date-parts":[[2018,5,8]],"date-time":"2018-05-08T00:00:00Z","timestamp":1525737600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,5,8]]},"abstract":"When New Zealand artist Len Lye branched out into kinetic sculpture in 1958, his conceptualization was intimately connected to music. In the same way that some dance can enhance the music that accompanies it, Lye proposed that his kinetic sculpture was also naturally suited to this function as, like dance, its foundation is movement (Lye 1958: 7). Witnessing Lye\u2019s steel sculptures in motion is a highly corporeal experience, with the sounds produced by their movements a key element in their sensory impact and appeal. To further strengthen the affective qualities of his sculpture, over a span of ten years Lye carried out numerous experiments incorporating various techniques and technology from both music and film, culminating in the idea to record and make these new sounds available to musicians and composers as source material for their compositions (Smythe 2006: 2). Focusing on a number of key events and a set of audio recordings held in the Len Lye Foundation Archive, this paper considers how, through such experiments, Lye was able to situate his motion composition outside the visual arts and within the field of music composition, to be viewed as \u201cmusical instruments rather than visual kinetic works of art\u201d (Lye n.d.-a:8). When considered in relation to Lye\u2019s achievements as a filmmaker and a sculptor, the audio recordings are easily dismissed as an interesting but isolated experiment. Driven by extensive primary research material, my aim here is to revisit and reappraise Lye\u2019s experiments with sound, placing them within a critical framework informed by consideration of his working across the disciplines of experimental film, sculpture, and music.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.457239","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:32Z","timestamp":1733131652000},"source":"Crossref","is-referenced-by-count":0,"title":["Len Lye\u2019s Kinetic Experiments: Sounds of Sculpture"],"prefix":"10.22501","author":[{"family":"Sarah Wall","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:45:16Z","timestamp":1784288716000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/457239\/457240"}},"issued":{"date-parts":[[2018,5,8]]},"references-count":0,"journal-issue":{"issue":"16"},"URL":"https:\/\/doi.org\/10.22501\/jss.457239","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,5,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:52Z","timestamp":1784290012460,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"06","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Increasingly, devices of everyday use employ computing technology. Due to small or absent screens and their ubiquity in the environment, these interactive commodities might benefit from the consideration of sound in their design and use. However, the criteria for appropriate, enjoyable and useful sonic interactions and suitable pedagogical methods for educating future designers in this area still remain to be explored.We want to encourage design students to create \u201csounds for tomorrow\u201d in an explorative way, inspired by the sound pioneers of \u201cNew Hollywood,\u201d who employed techniques of the avant-garde to establish new sonic identities. We implemented a design process in a workshop setting, continuously scrutinizing sound design and interpretational strategies. The process evolved over three connected stages: Foley-based and electroacoustic Wizard-of-Oz mockups and functional prototypes. Real time sound making, performance of interactions, and critical reflection on the aforementioned are central to our approach. In this article, we elaborate on the method, discuss design cases, and present pedagogical insights.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.237166","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:03Z","timestamp":1733131563000},"source":"Crossref","is-referenced-by-count":0,"title":["From Foley to Function: A Pedagogical Approach to Sound Design for Novel Interactions"],"prefix":"10.22501","author":[{"family":"Daniel Hug","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:42:31Z","timestamp":1784288551000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/237166\/237167"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"06"},"URL":"https:\/\/doi.org\/10.22501\/jss.237166","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:49Z","timestamp":1784369029837,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2021,10,19]],"date-time":"2021-10-19T00:00:00Z","timestamp":1634601600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2021,10,19]]},"abstract":"In the Summer of 2019, a small family forest fell victim to a spruce bark beetle plague. Unusually mild winters caused larvae numbers to explode, and extreme drought weakened the otherwise more resilient trees. Expanding patches of dead forest can be found from the North Sea coast to the Baltics. The cleared forest became The Plot: a witness to climate change, and a gateway to dealing with ecological grief. My own eco-anxiety is utilized as a case study: how to deal with this new kind of loss? What is The Plot telling us? How do we move forward without losing hope? The exposition presents The Plot as fertile ground for artistic and collaborative research, including a contribution by Lisa Jeannin, a custom made font, moving image, and an audio work.<\/jats:p>\n keywords: ecology, plague, ecological trauma, artistic research, science fiction, intermedial practices, visual art<\/jats:p>","DOI":"10.22501\/vis.1057314","type":"journal-article","created":{"date-parts":[[2021,10,19]],"date-time":"2021-10-19T05:13:18Z","timestamp":1634620398000},"source":"Crossref","is-referenced-by-count":0,"title":["The Plot, The Compositor, Mourning\/Mistakes"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-9956-8290","authenticated-orcid":false,"family":"Alexandra Crouwers","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:12:50Z","timestamp":1784365970000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1057314\/1273089"}},"issued":{"date-parts":[[2021,10,19]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/vis.1057314","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2021,10,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:26Z","timestamp":1784286506641,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2016,6,13]],"date-time":"2016-06-13T00:00:00Z","timestamp":1465776000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,13]]},"abstract":"AbstractName: Peter Primus FroschMain Subject: Jazz DrumsResearch supervisor: Patrick SchenkiusTitle of Research:Jazz Drummer Elvin Jones \u2013 His Musical HeritageResearch Question:What are the methods of Elvin Jones' playing and how did famous jazz drummers deal with his heritage?Summary of Results:The American jazz drummer Elvin Jones is one of the most famous musicians in jazz history. Nevertheless due to the writers' lack of ability to play the drums the existing research is very unsatisfying from a jazz drummer's perspective. Based on a wide array of transcriptions I put together several methods and concepts for accompaniment as well as drum solos developed by Elvin Jones. I also identified two predecessors to specfic stylistic approaches. The second chapter is about Jack Dejohnette, Jeff 'Tain' Watts and Brian Blade and how they dealt with his heritage.My main conclusion is that aspects of Elvin's style especially the method of 'play the drum set as one instrument' completely changed the approach of playing the drums in Jazz. Specific characteristics can be found in the better part of contemporary jazz drummers and therefore it is essential to deal with his concepts and ideas. This research helped me to increase my awareness of various stylistics of modern jazz drum set playing and at the same time I got an idea on how to apply those methods.CV:Peter Primus Frosch (drums)born on the 11.12.1990He started playing drums at age 5. After school in 2010 he enrolled at the Konservatorium Wien Privatuniversit\u00e4t studying with the likes of Mario Gonzi and Walter Grassmann. Since fall 2014 he is now continuing his master studies at the Royal Conservatory in The Hague, where he is under the guidance of the great dutch jazz drummer Eric Ineke.Awards: Fidelio competition finalist in 2012 and 2013, winner of the audience award in 2012; Most promising award\u201c by Marianne Mendt Jazznachwuchsf\u00f6rderung; winner of \u201eNew faces of Slovak Jazz\u201c 2014 best drummer at Generations International Jazzfestival Frauenfeld (Switzerland) - Jury: Lewis Nash, Seamus Blake, Don Friedman 2015: Winner of the Herbert Schedlmayer Jazz Stipendiumworkshops with Louis Hayes, Jimmy Cobb, Lewis Nash, David Hazeltine, Don Friedman, Seamus Blake among others;played with:Roman Schwaller, Clemens Salesny, Stephan Plecher, Jure Pukl, Daniel N\u00f6sig, Oliver Kent, Franz Hautzinger, Adrian Mears, Peter Herbert, Reinhard Micko, Klaus Gesing etc.<\/jats:p>\n keywords: Elvin Jones, jazz drumming, transcriptions<\/jats:p>","DOI":"10.22501\/koncon.225908","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:48:01Z","timestamp":1725907681000},"source":"Crossref","is-referenced-by-count":0,"title":["Jazz Drummer Elvin Jones: His Musical Heritage"],"prefix":"10.22501","author":[{"family":"Peter Primus Frosch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:54:39Z","timestamp":1784285679000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/225908\/225909"}},"issued":{"date-parts":[[2016,6,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.225908","published":{"date-parts":[[2016,6,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:46Z","timestamp":1784286466908,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2016,6,13]],"date-time":"2016-06-13T00:00:00Z","timestamp":1465776000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,13]]},"abstract":"Name: Mariko GotoMain Subject: FortepianoResearch Supervisor: Bert MooimanTitle of Research:Forbidden Beauty: Performance Practice of un-notated arpeggio in fortepiano music in late 19th CenturyResearch Question:Is it appropriate to arpeggiate a chord when it is not notated, especially in romantic repertory in second half of 19th century?If we can do it, where and how can we add arpeggio?Summary of Results:Modern pianism is quite skeptical to the addition of an arpeggio that is not written in the score. Pianists in the same generation as I am also may have had such the experience of hearing that their teacher say, \u201cDon\u2019t play arpeggio when the composer doesn\u2019t indicate it\u201d or \u201cDon\u2019t break your right and left hand\u201d.Such a strict attitude to the un-notated arpeggio originates from the tendency that the musicology (and musicians) in the late 20th century considered the intentions of composers as the most important thing, and they attributed it to the authentic score like manuscripts, or a first edition. In such a mood, it was not \u201cauthentic\u201d to add un-notated arpeggios. Playing un-notated arpeggios was a symbol of over romanticism, and sloppy playing. But there is much evidence that composers themselves added arpeggios, even if they show a strict attitude to the un-notated arpeggio in their remarks.If we look at the treaties, we can see that the un-notated arpeggio has a long tradition from the Baroque and Classical period. It is not a symbol of over-romanticism in the late 19th century, but a tactical tool to express character and affect of pieces.From the remarks of treaties, and early recordings of first half of 20th century, we can see that the character and affect of a piece is a very important element to decide, whether we can use arpeggio or not. Especially in the slow, expressive pieces or sections of a pieces we have many opportunities to add arpeggio.If we consider the tradition and usefulness of un-notated arpeggio, we should feel free to use it, especially on historical keyboard instruments.Biography:Born in Tokyo, Mariko Goto started her modern piano studies in her earliest childhood. She encountered early music, namely fortepiano and cembalo, at Tokyo University of the Arts. After completing her Master degree of Musicology at said university for her musical rhetoric studies about improvisation in Haydn\u2019s works, she devoted herself to the performance of these instruments. Since 2014, she has been pursuing a master\u2019s degree in fortepiano at the Royal Conservatoire of the The Hague under Bart van Oort.<\/jats:p>\n keywords: piano, arpeggio, 20th century, score interpretation<\/jats:p>","DOI":"10.22501\/koncon.115545","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:47:59Z","timestamp":1725907679000},"source":"Crossref","is-referenced-by-count":0,"title":["Forbidden Beauty: Performance Practice of un-notated arpeggio in fortepiano music in late 19th Century"],"prefix":"10.22501","author":[{"family":"Mariko Goto","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:54:19Z","timestamp":1784285659000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/115545\/258053"}},"issued":{"date-parts":[[2016,6,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.115545","published":{"date-parts":[[2016,6,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:39Z","timestamp":1784282979288,"version":"3.55.0"},"posted":{"date-parts":[[2025,9,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,24]],"date-time":"2025-09-24T00:00:00Z","timestamp":1758672000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is part of the series The Sonic Atelier \u2013 Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology.This interview features Iosonouncane (Jacopo Incani), who reflects on the influences that shaped his formation, the balance between composition, production, and mixing, and the challenges of navigating today\u2019s algorithm-driven music industry. He also discusses his approach to film scoring, the role of spatialization as a compositional parameter, and his views on new technologies such as artificial intelligence and immersive formats. His insights highlight the tensions between experimentation and market logic, as well as the need to preserve complexity and diversity as essential values in contemporary music-making.<\/jats:p>\n keywords: Iosonouncane, Jacopo Incani, Contemporary Composition, Hybrid composer, music production, Film scoring, spatialization, Sound Design, Technology and creativity, Artificial intelligence and music, Streaming platforms, music industry, Authorship, immersive performance, Italian contemporary music, creative process, music<\/jats:p>","DOI":"10.22501\/rc.3884192","type":"posted-content","created":{"date-parts":[[2025,9,24]],"date-time":"2025-09-24T11:39:01Z","timestamp":1758713941000},"source":"Crossref","is-referenced-by-count":0,"title":["The Sonic Atelier #4 \u2013 A Conversation with Iosonouncane"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0008-6646-3987","authenticated-orcid":false,"family":"Francesca Guccione","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:54Z","timestamp":1784282274000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3884192\/3884191"}},"issued":{"date-parts":[[2025,9,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3884192","published":{"date-parts":[[2025,9,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030310,"version":"3.55.0"},"posted":{"date-parts":[[2024,8,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,8,15]],"date-time":"2024-08-15T00:00:00Z","timestamp":1723680000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"I doktorgradsprosjektet Det som er mellom har eg s\u00f8kt etter \u00e5 finne ein samanheng mellom dei ulike uttrykka eg som kunstnar gjennom \u00e5ra har arbeida med. I dette arbeidet ligg det ogs\u00e5 eit fors\u00f8k p\u00e5 \u00e5 plassere mitt arbeid i ein kontekst og eit fors\u00f8k p\u00e5 ein refleksjon om korleis og kvifor det kunstnariske arbeidet blir til, og korleis enkelte av kunstnarane eg gjennom \u00e5ra er blitt inspirert av kan v\u00e6re med p\u00e5 \u00e5 plassere mitt eige arbeid i ein st\u00f8rre samanheng og kontekst. Slik eg ser det er alt eg gjer p\u00e5 ulike m\u00e5tar ein respons p\u00e5 noko, ei oppleving som ein tar med seg vidare inn i det kunstnariske arbeidet og som kan v\u00e6re inspirert av kunstverk og kunstnarskap, landskap, minner om landskap, minner om musikk og stader, menneske ein m\u00f8ter og minner om menneske ein har m\u00f8tt. Tittelen p\u00e5 prosjektet fungerer for meg som ein referanse til det at eg som kunstnar kjenner at eg befinn meg mellom ulike utrykk, noko som har blitt tydelegare for meg gjennom desse snart fire \u00e5ra som kunststipendiat. Snarare enn \u00e5 definere meg som det eine eller det andre, b\u00f8r eg kanskje godta at eg befinn meg i dette mellomrommet, at det ikkje er s\u00e5 viktig \u00e5 definere seg sj\u00f8lv, at behovet for \u00e5 definere seg ogs\u00e5 ligg i noko utanfor ein sj\u00f8lv, i st\u00f8tteordningar, i visningsstader eller i akademia. Det \u00e5 arbeide med samspelet mellom ulike kunstformer er nok for meg ein m\u00e5te \u00e5 s\u00f8ke etter ein form for poesi i det eg arbeider med, og at alt eg arbeider med spring ut fr\u00e5 eit fokus kring det sanselege, og i minna knytt til det sanselige b\u00e5de i lyd, lys, tekst og i det \u00e5 etablere eit rom for ei kunstoppleving. Inspirert av kunstnarar som mellom andre Janet Cardiff, Yoko Ono, Verdensteatret, David Lynch, Joan Jonas, Manos Tsangaris, Jana Winderen, Verk Produksjoner, Siri&Snelle, Klaus Lang, Evelina Dembacke, Marte Huke og Olafur Eliasson tenkjer eg at det som er felles for alle desse, slik eg opplever dei, er at dei er i kontakt med det sanselege og det poetiske p\u00e5 ulike plan.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2350158","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T11:36:01Z","timestamp":1725536161000},"source":"Crossref","is-referenced-by-count":0,"title":["Det som er mellom"],"prefix":"10.22501","author":[{"family":"Gyrid Nordal Kaldestad","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:40Z","timestamp":1784282320000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2350158\/2350220"}},"issued":{"date-parts":[[2024,8,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2350158","published":{"date-parts":[[2024,8,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,8,11]],"date-time":"2026-08-11T16:45:52Z","timestamp":1786466752611,"version":"build-2736575974"},"posted":{"date-parts":[[2026,8,11]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,8,11]],"date-time":"2026-08-11T00:00:00Z","timestamp":1786406400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Extractivism refers to an economic and political model centered on the large-scale removal of natural resources\u2014such as minerals, oil, gas, timber, and agricultural products\u2014from the Earth, primarily for export and profit. One key form of extractive activity is the mining of metallic ores and minerals.Finland has a long tradition of mining that dates back centuries, but modern industrial-scale extractive operations began to take shape in the 20th century. During this period, Finland\u2019s mining sector expanded rapidly under state-led initiatives. Although the industry eventually experienced a decline, a new mining boom has emerged since the 2010s.This resurgence was driven by the opening of \u201cmarkets\u201d\u2014lands and metallic ores and minerals located in the subsoil strata of the Finnish state\u2014to foreign companies. The global race for mining and metals has also intensified due to the ongoing energy transition, which involves moving away from fossil fuels and requires a significantly increased supply of mined minerals and metals. As a result, Finland becomes one of the frontiers of this new wave of extraction.The exposition invites to journey through the multiple temporalities and geographies of extractivism in Finland, exploring post-extractivist pasts alongside extractivist presents and encroaching futures. Each station tells the story of a specific location where mineral extraction or exploration is taking place, and is accompanied by theoretical reflections on what these sites reveal about the political economy and political ecology of extractivism.<\/jats:p>\n keywords: mining, extractivism, Finland, minerals, Indigenous, toxicity<\/jats:p>","DOI":"10.22501\/rc.4351541","type":"posted-content","created":{"date-parts":[[2026,8,11]],"date-time":"2026-08-11T15:51:57Z","timestamp":1786463517000},"source":"Crossref","is-referenced-by-count":0,"title":["Mining in Finland: Frontiers and Temporalities of Extractivism"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-8980-9428","authenticated-orcid":false,"family":"Iuliia Gataulina","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"ORCID":"https:\/\/orcid.org\/0009-0004-0173-7829","authenticated-orcid":false,"family":"Natalia Batrakova","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,8,11]],"date-time":"2026-08-11T15:51:57Z","timestamp":1786463517000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4351541\/4355778"}},"issued":{"date-parts":[[2026,8,11]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4351541","published":{"date-parts":[[2026,8,11]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:21Z","timestamp":1784283021435,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Aesthetic Displacement TheoryA Treatise on Witness, Alteration, and the Irreversible EncounterBy Dorian ValeNot all displacement is spatial. Some begins the moment a work is truly witnessed \u2014 and cannot return to what it was. In this seminal treatise, Dorian Vale introduces Aesthetic Displacement Theory, a core pillar within the Post-Interpretive Movement. This theory argues that the true aesthetic event is not the artwork itself, nor even its creation \u2014 but the irreversible alteration that occurs at the moment of witness. Once seen with moral proximity, a work can no longer be what it was before. And neither can the viewer.Drawing from principles of ontology, phenomenology, and ethical custodianship, Vale positions displacement not as a detour from essence, but as a confirmation of encounter. The aesthetic, here, is not defined by beauty, but by its power to alter what it touches without claiming it. Witness becomes both method and consequence.This treatise offers a comprehensive philosophy for critics, curators, and custodians of art who seek to honor the sacred instability that occurs when meaning is not extracted \u2014 but absorbed through presence.Aesthetic Displacement Theory is not an addition to aesthetics.It is a recalibration of its purpose.To displace without owning.To alter without interpreting.To remain present in the moment a work becomes unreturnable. Vale, Dorian. Aesthetic Displacement Theory A Treatise on Witness, Alteration, and the Irreversible Encounter. Museum of One, 2025. DOI: 10.5281\/zenodo.17056087Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)Aesthetic Displacement Theory, Dorian Vale, Post-Interpretive Criticism, art philosophy, witness-based criticism, non-interpretive aesthetics, phenomenology of art, ethical art encounter, irreversible art experience, viewer transformation, aesthetic ontology, presence in art, sacred aesthetics, non-possessive criticism, moral proximity in aesthetics, trauma and displacement in art, post-critical theory, alterity in art, aesthetic event philosophy, witnessing art without interpretation<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Visual Culture Studies, Epistemology of Art, Dorian Vale, Post-Aesthetic Critic, Founder of Post-Interpretive Criticism, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, Fine Arts, fine art, art criticism, art critics, https:\/\/scholar.google.com\/citations?hl=en&amp;authuser=1&amp;user=15tvhjAAAAAJ, https:\/\/www.semanticscholar.org\/author\/Dorian-Vale\/2380743266<\/jats:p>","DOI":"10.22501\/rc.3921589","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T07:50:02Z","timestamp":1759909802000},"source":"Crossref","is-referenced-by-count":0,"title":["Aesthetic Displacement Theory A Treatise on Witness, Alteration, and the Irreversible Encounter"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:48Z","timestamp":1784282268000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921589\/3921588"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921589","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025329,"version":"3.55.0"},"posted":{"date-parts":[[2022,9,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,9,12]],"date-time":"2022-09-12T00:00:00Z","timestamp":1662940800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The research enquiry involved experimental research and case study using location-based digital technologies (Geo-Blog) and perception mapping as a further methodological development of Scenarchitecture, a trans-disciplinary methodology developed by Moneta (2012) for reading and interpreting the Genius Loci. It was based on recent work of Italian archaeologist Giuseppe Lugli and his son Pier Maria Lugli (2006) about the \u2018Altera Forma Urbis\u2019 of Rome, which investigates the hidden, \u2018secret\u2019 structural urban form of Rome in the shape of a \u2018Star\u2019. The research was aimed at uncovering old and recent past history of Garbatella district and XI Municipality, as the place in which exists a concentration of urban modifications of Rome, through its connections with Lugli\u2019s studies. Using a hermeneutic phenomenology approach with a focus on making meaning of experiences as they are lived, the research revealed both physical and intangible connections between the Altera Forma Urbis of Rome and its contemporary urban structure within the area of study. Findings evidenced that extending the shape of the \u2018Star\u2019 from the original 1st mile radius of the Ancient Rome to 5-mile radius of contemporary city limits, there is a correspondence between the area of study\u2019s main monuments and landmarks with the Star\u2019s generating axes. Evidence of the originality of the findings were an exhibition (Segni Percorsi) commissioned and funded by \u2018Urban Centre - Municipio Roma XI\u2019, and a sited performance (Tramandala) commissioned and funded by Festival Teatri di Vetro 3, a renowned Festival of performing arts, and Fondazione Romaeuropa, one of the most prestigious cultural institutions in Europe. Feedback collected during the exhibition and after the performance evidenced the engagement of the audience with the themes and methods of the research. The dissemination of the work included the authored book Scenarchitettura (2012), article on journal Hortus (2009) and research report on Zenodo (2022).<\/jats:p>\n keywords: scenarchitecture, site-specific performance, altera forma urbis, garbatella, teatri di vetro, romaeuropa festival, municipio Roma XI<\/jats:p>","DOI":"10.22501\/rc.1732303","type":"posted-content","created":{"date-parts":[[2025,10,1]],"date-time":"2025-10-01T07:10:20Z","timestamp":1759302620000},"source":"Crossref","is-referenced-by-count":0,"title":["Discovering the Altera Forma Urbis of Rome through a site-specific project and performance at Garbatella district, Rome. 12-9-22"],"prefix":"10.22501","author":[{"family":"Andrea Moneta","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:46Z","timestamp":1784282386000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1732303\/1732269"}},"issued":{"date-parts":[[2022,9,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1732303","published":{"date-parts":[[2022,9,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:53Z","timestamp":1784290133609,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/acpa","type":"journal","created":{"date-parts":[[2025,1,24]],"date-time":"2025-01-24T13:04:33Z","timestamp":1737723873000},"source":"Crossref","is-referenced-by-count":0,"title":["Academy of Creative and Performing Arts"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:55:07Z","timestamp":1784289307000},"score":0.0,"resource":{"primary":{"URL":"http:\/\/www.hum.leiden.edu\/creative-performing-arts\/"}},"short-title":["acpa"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/acpa"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:34Z","timestamp":1784369074249,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2023,9,28]],"date-time":"2023-09-28T00:00:00Z","timestamp":1695859200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2023,9,28]]},"abstract":"This project investigates how Transformative Reflections can be developed as a range of methods and processes and how it can be used to create music based on and inspired by paintings.The project has worked with developing a method for translating from painting to composition and improvisation, and making inspiration from another artistic domain tangible. It also seeks to get closer to the artistic material and inspiration that to me seems to lie before the art expresses itself as a work, with an idea of what could be called a pre-art.Methodologically the project explores through four different method categories and an artwork dialogue perspective, both how to get closer to the intrinsic material and values in the reflected work, and to how the extrinsic expressions might translate to meaningful artworks in another domain, in this case music. Furthermore, it investigates the potential of new artistic hybrid art experiences based on the findings and examines the processes and considerations of these.The artistic purpose is through transformative reflections of painting to new works in improvisational and compositional contemporary music (jazz), to create a multidimensional, multisensory art experience space, where the individual work can be experienced both independently and in close communication with a work from another artistic domain.<\/jats:p>\n keywords: artistic research, RMC staff<\/jats:p>","DOI":"10.22501\/rmc.882976","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T05:43:00Z","timestamp":1737524580000},"source":"Crossref","is-referenced-by-count":0,"title":["Transformative Reflections"],"prefix":"10.22501","author":[{"family":"nikolaj hess","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:18:36Z","timestamp":1784366316000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/882976\/2089352"}},"issued":{"date-parts":[[2023,9,28]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/rmc.882976","published":{"date-parts":[[2023,9,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974787,"version":"3.55.0"},"posted":{"date-parts":[[2023,8,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,8,22]],"date-time":"2023-08-22T00:00:00Z","timestamp":1692662400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exhibition is co-created by Year One students (2021\/22) from the department of Fashion and Textile in The Royal Academy of Art, The Hague (KABK) after attending a series of lectures examining the historical study of Fashion & Textile design from constructivistic perspectives. This exhibition showcases a spectrum of practice-based research, ranging from imagined narratives from the past; to observations on the global cultural impact of (digital) fashion and music; to attempts in addressing gaps of knowledge and imbalances in the eco-system of fashion & textile in the past, present & future.In order to preserve the ephemeral nature of students' explorations in art & design education setting and in the spirit of Arturo Escobar's vision on the Pluriverse, students are given the freedom to propose their topic of choice and to deepen their knowledge as independently as possible. Guidance was given only when sought. In line with retaining the integrity of students' works, no interventions were made to student' contributions in this exhibition.Author \/ Curator Shanna Soh; Co-creators Riet Pedro, Emma Lobina, Carina Georgescu, Jungyun Jang, Noah Warmer, Renee Buitendlijk, Simon Veldkamp, Hiromu Takeshita, Zhenyi Zhou, Laura Garnier, Marie-Eve Verdrines, Bas Pol, Marijn Brinksma, Kim Gemmink, June Gibbs.<\/jats:p>\n keywords: fashion practice research, fashion design, Digital Fashion, co-creation, NFT, Fashion History, textile practice, Critical Fashion Practice, Fashion Theory, Design Studies<\/jats:p>","DOI":"10.22501\/rc.1610541","type":"posted-content","created":{"date-parts":[[2023,8,22]],"date-time":"2023-08-22T14:00:30Z","timestamp":1692712830000},"source":"Crossref","is-referenced-by-count":0,"title":["Making Histories: Pluriverse Perspectives on Fashion &amp; Textile Design Studies. Contributions from Year One students (AY 2021\/22)"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-3267-4918","authenticated-orcid":false,"family":"Shanna Soh","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Marijn Brinksma","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ren\u00e9e Buitendijk","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Laura Garnier","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Kim Gemmink","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Carina Georgescu","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"June Gibbs","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Jungyun Jang","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Emma Lobina","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Riet Pedro","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Bas Pol","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Hiromu Takeshita","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Marie Eve Vedrines","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Simon Veldkamp","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Nora Vervat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Noah Warmer","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Zhenyi Zhou","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:19Z","timestamp":1784282359000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1610541\/1610542"}},"issued":{"date-parts":[[2023,8,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1610541","published":{"date-parts":[[2023,8,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:40Z","timestamp":1784282980143,"version":"3.55.0"},"posted":{"date-parts":[[2022,3,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,3,22]],"date-time":"2022-03-22T00:00:00Z","timestamp":1647907200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"An archive of found images (and sometimes personal observations) These images are fragments of beings that exist together as several, heaving heaps of genderless sci-fi characters, swimming around in a world. You will find organisms such as (memes, cryptids, species with Latin names, pop culture toys)<\/jats:p>\n keywords: monster, queer, cryptid, archive, artwork, artistic research, found image<\/jats:p>","DOI":"10.22501\/rc.1573709","type":"posted-content","created":{"date-parts":[[2022,3,22]],"date-time":"2022-03-22T10:17:42Z","timestamp":1647944262000},"source":"Crossref","is-referenced-by-count":0,"title":["The Creatures Archive"],"prefix":"10.22501","author":[{"family":"Shana","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:53Z","timestamp":1784282393000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1573709\/1573710"}},"issued":{"date-parts":[[2022,3,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1573709","published":{"date-parts":[[2022,3,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:48Z","timestamp":1784282928803,"version":"3.55.0"},"posted":{"date-parts":[[2026,4,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,17]],"date-time":"2026-04-17T00:00:00Z","timestamp":1776384000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The book \"Ecomusic and Sound Oases, Ecomusicology Composition Practice\" by Eka Chabashvili, Maka(Maya) Virsaladze, Alexander Chokhonelidze, Joni Asitashvili.According to Nino Jvania \"Eco-Music in Sound Oases\" is one of the outstanding works in contemporary Georgian musicology, because it does not merely present a new topic: at once, it offers both a scholarly vision and a creative practice, both theoretical analysis and artistic experience. This is a book that urges the reader to reconsider established ideas about music. After reading it, you will perceive music in a broad ecosystemic context, as a dialogue with environment, space, sound, and life.<\/jats:p>\n keywords: ecology, ecomusicology, composition, Sound object, eco-art<\/jats:p>","DOI":"10.22501\/rc.4358339","type":"posted-content","created":{"date-parts":[[2026,4,17]],"date-time":"2026-04-17T18:10:59Z","timestamp":1776449459000},"source":"Crossref","is-referenced-by-count":0,"title":["Ecomusic in Sound Oases"],"prefix":"10.22501","author":[{"family":"Eka Chabashvili","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:45Z","timestamp":1784282205000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4358339\/4358340\/5\/5"}},"issued":{"date-parts":[[2026,4,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4358339","published":{"date-parts":[[2026,4,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:03Z","timestamp":1784283063773,"version":"3.55.0"},"posted":{"date-parts":[[2017,1,19]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2017,1,19]],"date-time":"2017-01-19T00:00:00Z","timestamp":1484784000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This text presents painting as a visual mechanism with which to communicate the otherwise invisible concept of the limitless passage of time in space. To do so, it demonstrates a series of ways through which the mind negotiates with the hand to process painting materials and techniques as part of an attempt to materialise the invisible. Consequently, the act of painting itself becomes both subject and motivating force. This project was first envisioned whilst travelling on a train high up in the Andes. My curiosity, although frightening was well rewarded when suddenly I noticed that the train tracks were not only limitless, but also invisible due to the speed of the train. At that moment, time and space became both eternal and invisible. Elucidating the invisible through sensory and non-sensory perception is not an easy task, for it implicates a conundrum that is no longer exclusively the domain of science but rather that of art and philosophy working in concert.<\/jats:p>\n keywords: painting, experimentation, techniques and strategies, time, space, limitlessness, visibility, invisibility, philosophy as art and scientific deductions of spatial interpretation and art, painting as a register of the process and theoretic operartor<\/jats:p>","DOI":"10.22501\/rc.327554","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:53:04Z","timestamp":1498053184000},"source":"Crossref","is-referenced-by-count":0,"title":["Marking the passage of time in space"],"prefix":"10.22501","author":[{"family":"Lucila Nalvarte Maddox","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:56Z","timestamp":1784282456000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/327554\/327555"}},"issued":{"date-parts":[[2017,1,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.327554","published":{"date-parts":[[2017,1,19]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:35Z","timestamp":1784289815966,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2020,6,8]],"date-time":"2020-06-08T00:00:00Z","timestamp":1591574400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,8]]},"abstract":"An interdisciplinary group of ten researchers including artists, cultural geographers, and anthropologists, led by theatre-maker David Overend and human-geographer Jamie Lorimer, visited the Bamff estate in Perthshire, Scotland for four days to explore \u201clandscaping with beavers\u201d and the possibility of multispecies collaboration. Building on previous experiments in Performing Wild Geographies at the Knepp estate in Sussex in 2017 and 2018, this project hoped to further develop our understanding of wild performatives, exploring the shifts in the local landscape in the wake of the introduction of a keystone species. This paper reflects on what emerged from our transdiscipline experiments and what endeavouring to collaborate with more-than-human actants taught us about developing multispecies ecologies of practice.<\/jats:p>\n keywords: rewilding, performance, ecology, landscape, collaboration<\/jats:p>","DOI":"10.22501\/ruu.699024","type":"journal-article","created":{"date-parts":[[2020,6,7]],"date-time":"2020-06-07T23:30:26Z","timestamp":1591572626000},"source":"Crossref","is-referenced-by-count":1,"title":["Ecologies of Practice: Landscaping With Beavers"],"prefix":"10.22501","author":[{"family":"Laura Bissell","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:10:22Z","timestamp":1784286622000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/699024\/699025"}},"issued":{"date-parts":[[2020,6,8]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.699024","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2020,6,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:34Z","timestamp":1784286274480,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2014,9,22]],"date-time":"2014-09-22T00:00:00Z","timestamp":1411344000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2014,9,22]]},"abstract":"This exposition discusses an artistic research project involving a field trip to a medical school. It introduces part of my postdoctoral project as a case study, discussing photography and video self-portraits as a means for exploring anatomy and clinical skills education. Instead of analysing the resulting photo series and video piece, the exposition has a focus on process and methodology: it elaborates on the artistic process and the various roles an artist-researcher can claim at the site of the medical school and in the study outcomes. The exposition also discusses the ways in which this process may engage medical school participants, and how the participants\u2019 reflections intertwine with the artistic outcomes.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.56534","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T14:25:00Z","timestamp":1492439100000},"source":"Crossref","is-referenced-by-count":0,"title":["Anatomical Self-Portraits as Fieldwork: Observations, Improvisations, and Elicitations in the Medical School"],"prefix":"10.22501","author":[{"family":"Kaisu Koski","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:15:53Z","timestamp":1784283353000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/56534\/56735"}},"issued":{"date-parts":[[2014,9,22]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/jar.56534","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2014,9,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:49Z","timestamp":1784286469422,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,11,9]],"date-time":"2021-11-09T00:00:00Z","timestamp":1636416000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,11,9]]},"abstract":"After participating in a project, Remy awakened his interest in Arabic traditional music. Being trained as a jazz, pop and classical bassist, he found that this music left him clueless, but mesmerized. That was when he decided to learn more about this musical genre, and dedicated his Master\u2019s degree to the subject. In his research, Remy aimed to find ways to incorporate elements from traditional Arabic music into his own musical practice as a Jazz double bass player. To reach this goal, Remy researched both rhythmic and melodic aspects of the Arabic music tradition. The first step was to understand the theory and the melodic and rhythmic information involved, encountering challenging topics like quartertones and complex rhythms and song structures. Secondly he searched to find ways to translate the melodic and rhythmic elements on to the double bass, creating several exercises to gain familiarity with the material. The third step of the research was about applying his findings into his artistic practice. By composing new tunes and arranging existing songs, both from the traditional Arabic world as from the jazz genre, Remy aimed to let the discoveries of his research sink in in his musical creativity. Remy\u2019s presentation will take you through his journey discovering this music. He will guide you through the three steps of his discoveries, looking at the melodic elements of the Arabic musical tradition, and how he implemented these into his own musical practice. Master Research exposition by Remy DielemansJazz Double Bass, Royal Conservatoire the HagueSupervised by: Loes RuschMaster Circle Leader: Wim Vos<\/jats:p>\n keywords: maqam, arabic music, double bass, Beyond Discipline<\/jats:p>","DOI":"10.22501\/koncon.1053899","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:39:29Z","timestamp":1725907169000},"source":"Crossref","is-referenced-by-count":0,"title":["The Arabic Maqam on Double Bass"],"prefix":"10.22501","author":[{"family":"Remy Dielemans","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:37:52Z","timestamp":1784284672000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1053899\/1059088"}},"issued":{"date-parts":[[2021,11,9]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1053899","published":{"date-parts":[[2021,11,9]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:54Z","timestamp":1784286474919,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2014,9,5]],"date-time":"2014-09-05T00:00:00Z","timestamp":1409875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Steven Willem ZwaninkMain Subject: Jazz Double Bass Research Coach: Patrick SchenkiusTitle of Research: How do you Swing a Quarter Note? An Analysis of the Great Walking Bassists of the 1950s and 60s.Research Question: In theory, a bass player's walking quarter notes should not swing, as they are not syncopated like eighth notes are for example; syncopation being a necessary condition of what it is to swing, in that it allows for the long-short lilt that people identify with swing music. In practice however, it is evident that certain bassists are able to create a swing feeling, through a highly complex, and often idiosyncratic approach to quarter note placement within the 'big beat,' as well as to sound production and articulation. By using sonic visualization software such as Audacity, my goal is to shed light on the unique and often highly mysterious properties behind swinging bass lines: are there strategies in common between swinging bassists, or does each performer swing in their own inimitable way; do swinging bass lines rely on a temporal tension between bassist and drummer; and to what extent are the timbral properties of an instrument and the attack with which a string is engaged relevant?Research Process:My research process involves four phases: Firstly, selecting contrasting examples of swinging bass players from the 1950s and 1960s; secondly, studying selected examples using Audacity, creating a visual data set that will then be used to examine what the similarities and differences are between each bassist's approach to swinging quarter notes; thirdly, examining whether the push and pull of swinging quarter notes results from either tension or synchronicity between a bassist and a drummer, as well as what effect the tonal shape of the quarter notes the bassist plays, as related to timbre and attack, have on swing feel; and fourthly, examining my own instincts with regards to the spectrum and parameters of the various swinging quarter notes of each bassist studied.Summary of Results: I have recently discovered in my own playing, that regardless of which drummer with whom I am playing, that my time feel needs to remain strong and unchangeable by what it is they are doing. This allows me to swing immediately and consistently on my own, or with whomever I am playing, provided the drummer is competent. All of this together answers my initial questions of: Do swinging bass lines rely on a temporal tension between bassist and drummer? No. Can the bassist swing his quarter notes all on his own? Yes. To what extent are the timbral properties of an instrument and the attack with which a string is engaged relevant? Extremely. In undertaking this study I have had the opportunity to think critically about a major parameter of jazz bass performance that is highly ephemeral and rarely quantified, though at the end of this project I now realize that that major parameter, while reliant on time, is actually sound and articulation.<\/jats:p>\n keywords: bass, jazz, swing, big beat<\/jats:p>","DOI":"10.22501\/koncon.81918","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:49:40Z","timestamp":1725907780000},"source":"Crossref","is-referenced-by-count":0,"title":["How Do You Swing a Quarter Note? An Analysis of the Great Walking Bassists of the 1950s and 60s."],"prefix":"10.22501","author":[{"family":"Steven Zwanink","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:58:17Z","timestamp":1784285897000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/81918\/81919"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.81918","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:10Z","timestamp":1784286490855,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,2,4]],"date-time":"2021-02-04T00:00:00Z","timestamp":1612396800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,2,4]]},"abstract":"A lot of researches have been conducted on Mozart's work and how to play it, including by myself. Eventhough those works helped our comprehension of this music, we still don't know what particular horn did Leutgeb (the composer's hornist friend) play at the time ; and never have I ever encountered a practical experimentation on such an instrument yet. XVIIIth century horns are rare and never played : every recorded performance of Mozart\u2019s music on hand-horn is played on a copy or a XIXth century horn, which is historically inaccurate. We know a lot of theory ; but no one has gone any further yet. My goal is to step in the unknown : first, to get as close as possible to the horn Leutgeb and Mozart knew ; then, find and play a historical horn from Mozart\u2019s time, and see what impact it has on the playing and the music.<\/jats:p>\n keywords: Horn, Early Music research, Instruments & Techniques, Wolfgang Amadeus Mozart<\/jats:p>","DOI":"10.22501\/koncon.655633","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:40:27Z","timestamp":1725907227000},"source":"Crossref","is-referenced-by-count":0,"title":["The horn of Leutgeb and Mozart : investigation and experimentation"],"prefix":"10.22501","author":[{"family":"Nicolas Roudier","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:40:29Z","timestamp":1784284829000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/655633\/655634"}},"issued":{"date-parts":[[2021,2,4]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.655633","published":{"date-parts":[[2021,2,4]]}},{"indexed":{"date-parts":[[2024,7,5]],"date-time":"2024-07-05T00:17:49Z","timestamp":1720138669187},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/i2ads","type":"journal","created":{"date-parts":[[2024,7,4]],"date-time":"2024-07-04T14:49:22Z","timestamp":1720104562000},"source":"Crossref","is-referenced-by-count":0,"title":["i2ADS - Research Institute in Art, Design and Society"],"prefix":"10.22501","member":"9794","deposited":{"date-parts":[[2024,7,4]],"date-time":"2024-07-04T14:49:22Z","timestamp":1720104562000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/i2ads.up.pt\/en\/"}},"short-title":["i2ads"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974806,"version":"3.55.0"},"posted":{"date-parts":[[2024,2,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T00:00:00Z","timestamp":1708560000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The second workshop in Oslo called consisted of cross testing our different microphone technologies, sound recording field-trips in Oslo to investigate the ideas proposed in the November workshop, testing new loudspeaker technologies, and presenting a research seminar and concert titled \"Extending Time\".<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2500085","type":"posted-content","created":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T13:54:40Z","timestamp":1708610080000},"source":"Crossref","is-referenced-by-count":0,"title":["Extending Time"],"prefix":"10.22501","author":[{"family":"Natasha Barrett","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:52Z","timestamp":1784282332000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2500085\/2500086"}},"issued":{"date-parts":[[2024,2,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2500085","published":{"date-parts":[[2024,2,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:09Z","timestamp":1784290089804,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"09","license":[{"start":{"date-parts":[[2015,5,7]],"date-time":"2015-05-07T00:00:00Z","timestamp":1430956800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,5,7]]},"abstract":"As writer and director, Rik Lander\u2019s aim with The Memory Dealer was to create a dramatic experience where audience members felt they had really become part of another world and another set of lives. The story was told through multiple media: an app that delivered narration and musical score via headphones, interactive installations, diegetic audio, prop flyers and newspapers, and encounters with actors. Rather than simply view the unfolding story, audience members were immersed in it and expected to become actor and author. Lander offers an insider\u2019s, auto-ethnographic perspective on the realization of this pervasive drama. He uses audience feedback to explore whether he succeeded in making this change to their role without arousing their self-consciousness. He also examines whether plot and characters could be as complex as in a movie or conventional play and which of the multiple forms of engagement served to immerse and which to alienate the audience?<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.147587","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:33Z","timestamp":1733131653000},"source":"Crossref","is-referenced-by-count":0,"title":["Experiments in Intimacy and Immersion"],"prefix":"10.22501","author":[{"family":"Rik Lander","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:52:16Z","timestamp":1784289136000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/147587\/147608"}},"issued":{"date-parts":[[2015,5,7]]},"references-count":0,"journal-issue":{"issue":"09"},"URL":"https:\/\/doi.org\/10.22501\/jss.147587","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2015,5,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:26Z","timestamp":1784290106151,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,9,28]],"date-time":"2021-09-28T00:00:00Z","timestamp":1632787200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2021,9,28]]},"abstract":"Open form is a designation on a type of composition that is in some degree open. It is also a term in relation to understanding a genre. This means that I do not include for example Bach\u00b4s Die Kunst der Fuge (circa 1740), but Stockhausen\u00b4s Aus den sieben Tagen (1968) could be included. This project, however, is centered around the composers from The New York Scool, and composers related to The New York School: Christian Wolff, Pauline Oliveros, John Cage, Earle Brown, Morton Feldman and Cornelius Cardew.An Open form composition is graphic, text- or number-based. It may also be a combination of these three notational techniques and\/or in combination with conventional staff line-notation.<\/jats:p>\n keywords: KMD_PhD<\/jats:p>","DOI":"10.22501\/kmd-ar.147680","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:18:57Z","timestamp":1684747137000},"source":"Crossref","is-referenced-by-count":0,"title":["Open Form. An Expanded Performer\u00b4s Role."],"prefix":"10.22501","author":[{"family":"Else Olsen Storesund","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:58:43Z","timestamp":1784289523000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/147680\/147681"}},"issued":{"date-parts":[[2021,9,28]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.147680","published":{"date-parts":[[2021,9,28]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:07Z","timestamp":1784365867417,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T00:00:00Z","timestamp":1753747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["uia"],"published-print":{"date-parts":[[2025,7,29]]},"abstract":"Sammendrag:Denne oppgaven utforsker hvordan estetiske intensjoner kan utvikles og formidles gjennom interaktiv liveprosessering i et moderne jazzensemble. Prosjektet NEKSUS tar utgangspunkt i fem komposisjoner som gjennom en tredelt prosess utvikles fra tradisjonelle jazzkomposisjoner til mer eksperimentelle lydlandskap. Gjennom fasene dekonstruksjon, estetisk intensjon og bandsamspill, unders\u00f8kes hvordan elektronisk prosessering kan fungere som et kreativt bindeledd mellom musikerne, og hvordan dette p\u00e5virker samspill og improvisasjon. Ved \u00e5 etablere spesifikke estetiske rammeverk for hver komposisjon, legges det til rette for nye interaksjonsformer i ensemblet. Oppgaven dokumenterer denne utviklingsprosessen i detalj og reflekterer over hvordan teknologiske verkt\u00f8y kan integreres som en naturlig del av det improvisatoriske uttrykket. Forskningsprosjektet viser at liveprosessering kan fungere som en neksus \u2013 et knutepunkt for musikalsk samhandling \u2013 som \u00e5pner for nye estetiske muligheter i spenningsfeltet mellom komposisjon, improvisasjon og teknologi. Samtidig belyses utfordringer knyttet til teknologisk implementering i livesammenheng, og hvordan disse kan overkommes gjennom grundig forberedelse og estetisk bevisstgj\u00f8ring.Abstract:This thesis explores how aesthetic intentions can be developed and expressed through interactive live processing in a contemporary jazz ensemble. The project NEKSUS examines five compositions that, through a three-phase process, evolve from traditional jazz compositions to more experimental soundscapes. Through the phases of deconstruction, aesthetic intention, and ensemble interaction, the research investigates how electronic processing can function as a creative connection between musicians, and how this affects interplay and improvisation. By establishing specific aesthetic frameworks for each composition, new forms of interaction within the ensemble are facilitated. The thesis documents this development process in detail and reflects on how technological tools can be integrated as a natural part of the improvisational expression. The research project demonstrates that live processing can function as a nexus \u2013 a point of connection for musical interaction \u2013 that opens up new aesthetic possibilities in the intersection between composition, improvisation, and technology. Simultaneously, it highlights challenges related to technological implementation in live settings, and how these can be overcome through thorough preparation and aesthetic awareness.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.3521535","type":"journal-article","created":{"date-parts":[[2025,7,29]],"date-time":"2025-07-29T11:29:45Z","timestamp":1753788585000},"source":"Crossref","is-referenced-by-count":0,"title":["NEKSUS: Utvikling av estetiske intensjoner gjennom interaktiv liveprosessering i et moderne jazzensemble"],"prefix":"10.22501","author":[{"family":"Magnus Berdal Holm","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["University of Agder, Faculty of Fine Arts"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:57:47Z","timestamp":1784365067000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3521535\/3521536"}},"issued":{"date-parts":[[2025,7,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/uia.3521535","published":{"date-parts":[[2025,7,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:10Z","timestamp":1784290030949,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Listening to history requires the historian to compose sonic events from the archive. This essay explores how Audible History has developed since Alain Corbin\u2019s ground-breaking Village Bells. The listening historian has broadened the scope of social and cultural history by rearranging existing and creating new narratives. However, historians need to go beyond interrogating the earwitnesses of aural cultures. They need to listen to sounds-as-objects and the acoustic context of events. Three concepts are introduced to develop a methodology for this: 1) silence, which is the silence of the archive as well as the role silence played in history\u2019s sonic register; 2) resonance, which demonstrates the way that resonances between people and their environment and among people created community; 3) echo, as a concept that allows for the objectification of sounds at the same time that it attends to the origins of sounds-as-objects.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.290291","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:10Z","timestamp":1733131570000},"source":"Crossref","is-referenced-by-count":0,"title":["HISTORY AND ITS ACOUSTIC CONTEXT: SILENCE, RESONANCE, ECHO AND WHERE TO FIND THEM IN THE ARCHIVE"],"prefix":"10.22501","author":[{"family":"Maarten Walraven","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:43:01Z","timestamp":1784288581000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/290291\/290292"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.290291","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:05Z","timestamp":1784283005511,"version":"3.55.0"},"posted":{"date-parts":[[2022,7,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,7,12]],"date-time":"2022-07-12T00:00:00Z","timestamp":1657584000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"On the basis of the diagram that Deleuze made about Foucault himself to draw a path through his work, the lines are traced that bring it into contact with the cinematic thinking from Deleuze's time-image and movement-image and which kind of junctions between the works were found. A kinematographic view on Foucault projects him onto a filmic expression. For Deleuze, Foucault\u2019s diagram is an exterior that gives his own thinking a layered structure, a layered formation. The layers form deposits and the reference to the outside of the diagram as a cinematographic cutting apparatus calls the visibilities and sayings into question again by assembling them together in such a way that an alogical cut is created. The creation of which must be sought. The distance in the power relations, which is reflected in the visible and the sayable, was able to experience a view with a transition to the film books that attaches a constitutive character to the interval and does not have to ignore it. A video expression will give the diagram of Foucault a visible character and uses Foucaults work as instruction or stage directions for how the sayable and seeable are connected.<\/jats:p>\n keywords: Deleuze, Foucault, Film-Philosophy<\/jats:p>","DOI":"10.22501\/rc.1277182","type":"posted-content","created":{"date-parts":[[2022,7,12]],"date-time":"2022-07-12T05:46:55Z","timestamp":1657604815000},"source":"Crossref","is-referenced-by-count":0,"title":["A deleuzian diagram for Foucault"],"prefix":"10.22501","author":[{"family":"Evi J\u00e4gle","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:49Z","timestamp":1784282389000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1277182\/1277183"}},"issued":{"date-parts":[[2022,7,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1277182","published":{"date-parts":[[2022,7,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T10:06:32Z","timestamp":1784109992246,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"38","license":[{"start":{"date-parts":[[2026,6,17]],"date-time":"2026-06-17T00:00:00Z","timestamp":1781654400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2026,6,17]]},"abstract":"The Aesthetics of Photographic Production is a media-rich Research Catalogue exposition emerging from an AHRC-funded long-term practice research project (2018\u201324) that investigates photographic production as a multisensory, material, and more-than-human field of making. The project\u2019s dissemination strategy is threefold: this exposition, a published monograph (Jaeger 2025), and the performance and exhibition of artworks, each calibrated to communicate the research through distinct epistemic affordances. Grounded in sensory field encounters within commercial laboratories and manufacturing facilities \u2014 Bayeux London, Make it Easy Lab Nottingham, Fujifilm Tilburg, and Polaroid Enschede \u2014 the exposition foregrounds production ecologies where photographic work emerges through distributed relations among technicians, machines, paper, chemistry, protocols, speed, and darkness.The exposition is organised by two objectives: to examine what else besides the photograph is aesthetically made in photographic production, and to explore the implications of this shift for the concept of photographic practice (Jaeger 2025). These aims are pursued through four subpages \u2014 tensioning, tearing, fogging, and fieldwork \u2014 which assemble visual, sonic, and audiovisual materials to render process insights encounterable. Rather than privileging the finished image, the exposition attends to practices of calibration, residue, and non-image making, where touch, listening, rhythm, and material agency become central to photographic knowledge and to expanded understandings of photographic practice.<style scoped=\"scoped\">\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/researches\/4706387\/download\/4706393\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: Posthuman performativity, aesthetic experience, production process, photographic practice, beyond representation, post-photography, material Imagination, material engagement, production aesthetics, PHOTOGRAPHY, photographic methods, photograph, photosculpture, photogrammetry, photographic thinking<\/jats:p>","DOI":"10.22501\/jar.603276","type":"journal-article","created":{"date-parts":[[2026,6,17]],"date-time":"2026-06-17T21:30:09Z","timestamp":1781731809000},"source":"Crossref","is-referenced-by-count":0,"title":["The Aesthetics of Photographic Production"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-0766-9108","authenticated-orcid":false,"family":"Andrea Jaeger","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:23:11Z","timestamp":1784107391000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/603276\/2781638"}},"issued":{"date-parts":[[2026,6,17]]},"references-count":0,"journal-issue":{"issue":"38"},"URL":"https:\/\/doi.org\/10.22501\/jar.603276","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2026,6,17]]}},{"indexed":{"date-parts":[[2025,3,19]],"date-time":"2025-03-19T04:22:29Z","timestamp":1742358149800,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0022","type":"journal-article","created":{"date-parts":[[2019,12,20]],"date-time":"2019-12-20T10:42:18Z","timestamp":1576838538000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Corina Caduff and Tan W\u00e4lchli (eds.), \"Artistic Research and Literature\""],"prefix":"10.22501","author":[{"given":"Tobias","family":"Servaas","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2019,12,19]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:59Z","timestamp":1742292179000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-corina-caduff-and-tan-walchli-eds-artistic-research-and-literature"}},"issued":{"date-parts":[[2019,12,19]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0022","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2019,12,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948885,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T00:00:00Z","timestamp":1772236800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"ASSET ARREST is a research project and podcast series that infiltrates and disseminates the exclusive spaces of financialized housing. ASSET ARREST seeks to expose the spatial politics of urban real estate as shaped by speculative investment, gentrification, and the increasing abstraction of housing from use-value to asset-value. In each episode of the podcast, Laura invites a guest to view a property with her, with them both posing as potential buyers. The project functions both as an investigative tool and as a mode of counter-publicity, deploying strategies that \"make public\" what is structurally hidden. Central to this practice is the production of alternative representations of these sites\u2014images rendered not through the idealized CGI marketing tropes that dominate real estate promotion, but through unscripted conversation and embodied performance.In posing as a prospective buyer, I enact a form of role-play that becomes both method and critique. This performative access enables a rupture in the polished fa\u00e7ade of luxury developments, allowing for the insertion of critical discourse into spaces otherwise closed to scrutiny. ASSET ARREST mobilizes a feminist methodology\u2014one that resists objectivity, embraces relationality, and insists on the political significance of lived experience. The project is understood as an act of spatial disobedience: reclaiming the tools of surveillance, storytelling, and spectacle not to reproduce power, but to subvert and redistribute it.<\/jats:p>\n keywords: art, artwork, performance, podcast, urban space, regeneration, creative city, spatial politics, housing, real estate, site-specific, intervention<\/jats:p>","DOI":"10.22501\/rc.4217173","type":"posted-content","created":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T04:27:07Z","timestamp":1772252827000},"source":"Crossref","is-referenced-by-count":0,"title":["ASSET ARREST"],"prefix":"10.22501","author":[{"family":"Laura Yuile","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:06Z","timestamp":1784282226000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4217173\/4217174"}},"issued":{"date-parts":[[2026,2,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4217173","published":{"date-parts":[[2026,2,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:38Z","timestamp":1784283038704,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.Intense instances of sanitization from migrant labor being sprayed with disinfectants on highways to meticulous washing of all surfaces within homes every 4 hours, these practices even though inhumane became commonplace.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1276095","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T03:21:17Z","timestamp":1622690477000},"source":"Crossref","is-referenced-by-count":0,"title":["Sanitization practices"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:08Z","timestamp":1784282408000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1276095\/1276096"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1276095","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:22Z","timestamp":1784283022080,"version":"3.55.0"},"posted":{"date-parts":[[2024,8,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,8,30]],"date-time":"2024-08-30T00:00:00Z","timestamp":1724976000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u0397 \u03b1\u03bd\u03b1\u03c0\u03bd\u03bf\u03ae \u03ba\u03b1\u03b9 \u03b7 \u03c3\u03c4\u03ac\u03c3\u03b7 \u03c4\u03bf\u03c5 \u03c3\u03ce\u03bc\u03b1\u03c4\u03bf\u03c2,\u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03b9\u03b4\u03b1\u03bd\u03b9\u03ba\u03ae \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae \u03c4\u03bf\u03c5 \u03ae\u03c7\u03bf\u03c5 \u03bc\u03b5 \u03ad\u03bc\u03c6\u03b1\u03c3\u03b7 \u03c3\u03c4\u03bf \u03cc\u03bc\u03c0\u03bf\u03b5.\u03a3\u03c5\u03b3\u03b3\u03c1\u03ac\u03c6\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b1 \u03c0\u03bb\u03b1\u03af\u03c3\u03b9\u03b1 \u03c4\u03bf\u03c5 \u03b4\u03b9\u03b4\u03ac\u03c3\u03ba\u03bf\u03bd\u03c4\u03bf\u03c2 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\u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03b9\u03ac\u03b6\u03bf\u03bd\u03c4\u03b1\u03b9 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03b5\u03c2 \u03b1\u03c3\u03ba\u03ae\u03c3\u03b5\u03b9\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03b1\u03bd\u03b1\u03c0\u03bd\u03bf\u03ae, \u03bc\u03b5 \u03c4\u03b7\u03bd \u03ba\u03ac\u03b8\u03b5 \u03ac\u03c3\u03ba\u03b7\u03c3\u03b7 \u03bd\u03b1 \u03b1\u03c0\u03bf\u03c3\u03ba\u03bf\u03c0\u03b5\u03af \u03c3\u03b5 \u03ad\u03bd\u03b1\u03bd \u03b4\u03b9\u03b1\u03c6\u03bf\u03c1\u03b5\u03c4\u03b9\u03ba\u03cc \u03c3\u03ba\u03bf\u03c0\u03cc. \u039f\u03b9 \u03b1\u03c3\u03ba\u03ae\u03c3\u03b5\u03b9\u03c2 \u03ba\u03c5\u03c1\u03af\u03c9\u03c2 \u03b1\u03c6\u03bf\u03c1\u03bf\u03cd\u03bd \u03c4\u03bf\u03c5\u03c2 \u03bf\u03bc\u03c0\u03bf\u0390\u03c3\u03c4\u03b5\u03c2, \u03bb\u03cc\u03b3\u03c9 \u03c4\u03bf\u03c5 \u03b9\u03b4\u03b9\u03b1\u03af\u03c4\u03b5\u03c1\u03bf\u03c5 \u03c3\u03c5\u03bd\u03b4\u03c5\u03b1\u03c3\u03bc\u03bf\u03cd \u03c4\u03b7\u03c2 \u03b1\u03bd\u03b1\u03c0\u03bd\u03bf\u03ae\u03c2 \u03bc\u03b5 \u03c4\u03bf \u03ba\u03b1\u03bb\u03ac\u03bc\u03b9 \u03c4\u03bf\u03c5 \u03cc\u03bc\u03c0\u03bf\u03b5 \u03ba\u03b1\u03b9 \u03c4\u03c9\u03bd \u03c0\u03bf\u03b9\u03ba\u03af\u03bb\u03c9\u03bd \u03c7\u03b1\u03c1\u03b1\u03ba\u03c4\u03b7\u03c1\u03b9\u03c3\u03c4\u03b9\u03ba\u03ce\u03bd \u03c4\u03bf\u03c5.\u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2 \u03a4\u03c3\u03cc\u03b3\u03b9\u03b1\u03c2-\u03a1\u03b1\u03b6\u03ac\u03ba\u03bf\u03b2\u03a0\u03b1\u03b9\u03b4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u0394\u03b9\u03b4\u03b1\u03ba\u03c4\u03b9\u03ba\u03ae \u039f\u03c1\u03b3\u03ac\u03bd\u03bf\u03c5 \u0399\u0399\u0399.\u039a\u03ad\u03c1\u03ba\u03c5\u03c1\u03b1: \u0399\u03cc\u03bd\u03b9\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf, 2016.<\/jats:p>\n keywords: music, breathing practice, exercises, oboe, reeds, Respiratory system, performance, classical, technique<\/jats:p>","DOI":"10.22501\/rc.2986680","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T11:38:58Z","timestamp":1725536338000},"source":"Crossref","is-referenced-by-count":0,"title":["\u0397 \u0391\u039d\u0391\u03a0\u039d\u039f\u0397 \u039a\u0391\u0399 \u0397 \u03a3\u03a4\u0391\u03a3\u0397 \u03a4\u039f\u03a5 \u03a3\u03a9\u039c\u0391\u03a4\u039f\u03a3, \u0393\u0399\u0391 \u03a4\u0397\u039d \u0399\u0394\u0391\u039d\u0399\u039a\u0397 \u03a0\u0391\u03a1\u0391\u0393\u03a9\u0393\u0397 \u03a4\u039f\u03a5 \u0389\u03a7\u039f\u03a5 \u039c\u0395 \u0388\u039c\u03a6\u0391\u03a3\u0397 \u03a3\u03a4\u039f \u038c\u039c\u03a0\u039f\u0395."],"prefix":"10.22501","author":[{"family":"\u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2 \u03a4\u03c3\u03cc\u03b3\u03b9\u03b1\u03c2-\u03a1\u03b1\u03b6\u03ac\u03ba\u03bf\u03b2","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:39Z","timestamp":1784282319000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2986680\/2986679"}},"issued":{"date-parts":[[2024,8,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2986680","published":{"date-parts":[[2024,8,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:52Z","timestamp":1784282932400,"version":"3.55.0"},"posted":{"date-parts":[[2025,11,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,21]],"date-time":"2025-11-21T00:00:00Z","timestamp":1763683200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research is grounded in the relation between listening and orientation through a kindred gesture: tending towards. Its object of inquiry is the dialogue between Paul Celan\u2019s poems and Gis\u00e8le Lestrange-Celan\u2019s etchings in the publication Atemkristall (Brunidor 1965, Vaduz). The choice of this pairing arises from the possibility of bringing together two elements: the breath and the ground. I follow the flux and exchange between breathing gestures and inscription across the poems and etchings, approaching the images not as illustrations or representations of the text but as spatial configurations of encounter\u2014between readers, listeners, makers, and witnesses.Attendance as a gesture of attention becomes palpable when the poet imagines that \u201cthe poem is pneumatically touchable\u201d and that \u201cthe reader breathes into the poem.\u201d In this turning-towards-the-poem, the etchings invite a reading of the poet\u2019s gesture as it inclines toward another practice and medium. My interest lies in how, within this publication, both media affect and reorient one another, generating a shared space of reading. Extending this form of listening means approaching the relation between word and image as the opening of spaces of attention\u2014listening as inclination, as stance, before any immediate attempt of translation.<\/jats:p>\n keywords: attention, poem, etching, cross-media, breath, publication, reading, Paul Celan, Edouard Glissant, Gis\u00e8le Lestrange<\/jats:p>","DOI":"10.22501\/rc.3862089","type":"posted-content","created":{"date-parts":[[2025,11,21]],"date-time":"2025-11-21T09:55:21Z","timestamp":1763718921000},"source":"Crossref","is-referenced-by-count":0,"title":["Tending towards each other: between breath and inscription"],"prefix":"10.22501","author":[{"family":"Thais Akina Yoshitake Lopez","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:31Z","timestamp":1784282251000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3862089\/3862090"}},"issued":{"date-parts":[[2025,11,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3862089","published":{"date-parts":[[2025,11,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001200,"version":"3.55.0"},"posted":{"date-parts":[[2025,4,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,25]],"date-time":"2025-04-25T00:00:00Z","timestamp":1745539200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research explores the dialogue between the individual and natural phenomena through an artistic process that focuses on flow as a dynamic and generative element. The interaction between water, pigment and support-usually 50% or 100% cotton fibre paper-is configured as a field of visual investigation in which chance and physical forces play a decisive role. The work begins with the use of watercolour, the movement of which is influenced by both natural and industrial elements, such as stones or artificial structures, which alter the liquid's path and colour distribution.A fundamental aspect of the research is the investigation of the relationship between the flow of water and atmospheric events. The direct intervention of rain, wind and humidity introduces unpredictable variables that transform the painting process into an open and constantly evolving experience. The idea of flow is thus configured as an essential artistic element, capable of reflecting the changing nature of matter and time.From these experiments, the research extends to the study of gravity and its implications in the movement of pigment, drawing parallels with cosmological dynamics such as black holes and white holes. The action of the gravitational field and the tension between attraction and expulsion become visual metaphors that find expression in the creative process.In order to structure and document this investigation, notebooks, notes and parallel experiments are used, which are fundamental tools for outlining a method capable of reconciling individual technique with the randomness of external factors. The aim is to find a balance between control and unpredictability, developing a visual language that restores the interaction between artistic gesture and natural forces.In parallel, the project involves experimenting with materials other than paper, such as textiles, membranes and other porous or water-repellent surfaces. The introduction of these elements broadens the possibilities of interaction between water, pigment and support, generating new visual and tactile effects that amplify the dialogue between matter and physical phenomena.Set in an international context of artistic and scientific exploration, this research proposes an interdisciplinary reflection on the relationship between art, nature and physics, redefining the role of the artist as interpreter of the forces that govern our universe.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3506425","type":"posted-content","created":{"date-parts":[[2025,4,25]],"date-time":"2025-04-25T09:16:15Z","timestamp":1745572575000},"source":"Crossref","is-referenced-by-count":0,"title":["Flows, gravity and chaos: an artistic investigation into atmospheric phenomena, matter and cosmology"],"prefix":"10.22501","author":[{"family":"Martino Allegretti","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:10Z","timestamp":1784282290000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3506425\/3506426"}},"issued":{"date-parts":[[2025,4,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3506425","published":{"date-parts":[[2025,4,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:21Z","timestamp":1784283021422,"version":"3.55.0"},"posted":{"date-parts":[[2025,9,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T00:00:00Z","timestamp":1757894400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Rinderer RC<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3085814","type":"posted-content","created":{"date-parts":[[2025,9,15]],"date-time":"2025-09-15T08:42:52Z","timestamp":1757925772000},"source":"Crossref","is-referenced-by-count":0,"title":["Rinderer RC"],"prefix":"10.22501","author":[{"family":"Julieanna Preston","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:56Z","timestamp":1784282276000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3085814\/3085815"}},"issued":{"date-parts":[[2025,9,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3085814","published":{"date-parts":[[2025,9,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:00Z","timestamp":1784286480577,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,6,3]],"date-time":"2019-06-03T00:00:00Z","timestamp":1559520000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,6,3]]},"abstract":"Student Number3105008Supervisor(s)Anna Scott, Jed WentzTitleApproaching a Rhetorical Performance of Late 18th Century Keyboard Music from the Methods of john WalkerResearch QuestionHow can we apply declamatory principles from late 18th century English treatises to historical performance of late 18th century solo keyboard music?SummaryThere is no doubt that the art of classical rhetoric played an important role in the conception and performance of music in the 18th century. In order to better understand how to perform rhetorically in an historically informed manner, an understanding of declamation as it was understood in the late 18th century is key. This thesis uses the written methods of English actor-turned-elocutionist, John Walker, as the basis to proposing a rhetorical approach to late 18th century solo keyboard repertoire. Linguistic concepts of sense, structure, style, and delivery (acting) are likened to analogous concepts in galant music and supported with statements from musical treatises and examples from musical works. Two main performance case studies are considered for comparison: the first linguistic, being Walker\u2019s 1787 annotated version of Edward IV\u2019s speech from William Shakespeare\u2019s \"Richard III\"; and the second musical, being the Adagio movement of Joseph Haydn\u2019s 1794 Keyboard Sonata Hob. XVI:52. It is hoped that this investigation will not only expand the horizons of the author\u2019s solo performances, but will also provide interesting and useful tools for other musicians.Short BioAnders Muskens began modern piano studies at the age of 4 in Edmonton, Canada. He graduated from the Royal Conservatory of Music, Toronto under the tutelage of Dr. Irina Konovalov. He now studies fortepiano and harpsichord at the Royal Conservatoire of The Hague with Dr. Bart van Oort, Petra Somlai, and Fabio Bonizzoni. He received numerous awards including: 1st place at the Early Music Young Ensemble Competition at the London Exhibition of Early Music 2018 in a duo with soprano Tinka Pypker; and the \u201eHofkapelle Elbe-Elster\u201c prize at the \u201eGebr\u00fcder Graun Prize\u201c 2018 with his ensemble Das Neue Mannheimer Orchester.<\/jats:p>\n keywords: Rhetoric, 18th century, Keyboard Repertoire, performance<\/jats:p>","DOI":"10.22501\/koncon.413161","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:43:12Z","timestamp":1725907392000},"source":"Crossref","is-referenced-by-count":0,"title":["Approaching a Rhetorical Performance of Late 18th Century Keyboard Music from the Methods of john Walker"],"prefix":"10.22501","author":[{"family":"Anders Muskens","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:45:33Z","timestamp":1784285133000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/413161\/413162"}},"issued":{"date-parts":[[2019,6,3]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.413161","published":{"date-parts":[[2019,6,3]]}},{"indexed":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T08:46:00Z","timestamp":1776674760737,"version":"3.51.2"},"posted":{"date-parts":[[2026,4,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T00:00:00Z","timestamp":1776643200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Rammer og romUtvikling av toradarspel med utgangspunkt i overf\u00f8ring av l\u00e5tspel fr\u00e5 hardingfele og fele. Prosjektet r\u00f8rer seg i feltet tradisjonsmusikk i Noreg og Sverige. Det har teke utgangspunkt i dei mest vanlege instrumenta i sjangeren, hardingfela og fela, og kandidaten sine hovudinstrument, toradar og treradar. Fokus for utforskinga har vore instrumentet, to ulike bygdedanstypar, samspel i duoformat og samspel med dansarar. Tema har vorte unders\u00f8kt gjennom overf\u00f8ring og ut\u00f8ving av l\u00e5tmateriale i Vestland og Hedmark, komponering av nye l\u00e5tar og spel med dans. Utforskinga har vorte gjort solo og i samspel med Jeanette Evansson, fele\/hardingfele, med Jonas \u00c5kerlund, feler m.m., og med dansarane H\u00e5kon Dregelid og Ami Dregelid. Dei forskjellige elementa har p\u00e5verka kvarandre. Prosjektet har stilt sp\u00f8rsm\u00e5l som: Kva opplever me er det mest vesentlege i l\u00e5tspel i dei to musikktradisjonane? Kor er rommet for variasjon? Kva er dei kunstnarlege kvalitetane innan desse rammene? Kva val gjer eg i overf\u00f8ringsprosessen fr\u00e5 hardingfela\/fela til mitt instrument? Kva er skilnaden mellom ein l\u00e5t spelt med dans og ein l\u00e5t spelt utan dans? Kva er det som gjer spel dansbart? Kva er det som gjer dans spelbar? Kva funksjon har flow i det ut\u00f8vande arbeidet? Eg har sett og ser eit behov for fleire uttrykksformer p\u00e5 toradar, behov for spr\u00e5k og omgrep om det \u00e5 spela instrumentet, og eit spr\u00e5k for kva som skjer i samspel med dans. Prosjektet framhevar og utdjupar kvalitetar i sjangeren, og det er desse s\u00e6reeigne kvalitetane og korleis dei kommuniserer som har vore fokus i prosessen og som har kome m\u00e5tar fram p\u00e5 ulike i resultata. Prosjektet har gjeve kunstnarlege resultat i form av solo-album, duo-album, og album spelt inn med dansarar Studien f\u00f8rte ogs\u00e5 til uventa kunstnarlege resultat med eit nyutvikla instrument, treradaren, ein to-i-ein-treradar, bygd av instrumentmakaren Emmanuel Pariselle. Eitt l\u00e6reundervisningsverk i form av ebok, med lyd og bilde, vart ogs\u00e5 utvikla undervegs. Refleksjonsdelen av prosjektet best\u00e5r av tekstar som set s\u00f8kelyset p\u00e5 prosessane fram mot dei ulike kunstnarlege resultata, og plasserer prosjektet i kunstfagleg kontekst. Tittelen er inspirert av professor i kulturfilosofi Mikkel B. Tin, og seier noko om samspelet om tradisjon og nyutvikling, forventingar og forventingsbrot \u2013 ein grunnstein i Rom og rammer. AbstractScope and Space Development of melodeon performance practices based on the transfer of tune-playing from the Hardanger fiddle and the fiddle. This project operates within the field of traditional music in Norway and Sweden. It takes as its point of departure the most common instruments in the genre\u2014the Hardanger fiddle and the violin\u2014alongside the candidate\u2019s primary instruments: the two-row and three-row diatonic accordion. The exploration has focused on the instrument, two distinct types of traditional dance tunes, ensemble playing in a duo format, and collaboration with dancers.The themes have been examined through the transfer and performance of tune material from Vestland and Hedmark, the composition of new material, and performances in collaboration with dancers. The exploration has been carried out both solo and in collaboration with Jeanette Evansson (fiddle\/Hardanger fiddle), Jonas \u00c5kerlund (fiddles and others), and dancers H\u00e5kon Dregelid and Ami Dregelid. The different elements have influenced one another throughout the process.The project poses questions such as: What do we perceive as the most essential aspects of tune-playing within these two musical traditions? Where is the space for variation? What are the artistic qualities within these frameworks? What choices do I make in the process of transferring material from the Hardanger fiddle\/violin to my instrument? What is the difference between a tune performed with dance and one performed without? What makes music danceable? What makes dance playable? What role does flow play in the act of performance? I have identified a need for a wider range of expressive forms on the two-row accordion, as well as a need for a clearer language and conceptual framework for describing the act of playing the instrument, and for articulating what occurs in interaction with dancers. The project highlights and deepens qualities within the genre, and it is these distinctive qualities\u2014and how they are communicated\u2014that have been central to both the process and the varied outcomes.The project has resulted in artistic outputs in the form of a solo album, a duo album, and an album created in collaboration with dancers. The study also led to unexpected artistic outcomes in the form of a newly developed instrument: a hybrid two-in-one three-row melodeon built by instrument maker Emmanuel Pariselle. In addition, a pedagogical work in the form of an e-book, including audio and visual material, was developed during the process.The reflective component of the project consists of texts that highlight the processes leading to the various artistic results and situate the project within an artistic research context. The title is inspired by the cultural philosopher Mikkel B. Tin, and points to the interplay between tradition and innovation, expectations and the breaking of expectations\u2014fundamental aspects of Scope and Space.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2429933","type":"posted-content","created":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T07:55:58Z","timestamp":1776671758000},"source":"Crossref","is-referenced-by-count":0,"title":["RAMMER OG ROM"],"prefix":"10.22501","author":[{"family":"Anette Thorsheim","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2026,4,20]],"date-time":"2026-04-20T07:55:59Z","timestamp":1776671759000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2429933\/3975697"}},"issued":{"date-parts":[[2026,4,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2429933","published":{"date-parts":[[2026,4,20]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:03Z","timestamp":1784289903607,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2024,2,29]],"date-time":"2024-02-29T00:00:00Z","timestamp":1709164800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2024,2,29]]},"abstract":"Ethnographic work generally involves making sound recordings (recorded interviews, field recordings, or archival documents), whether or not the research includes a sonic dimension. But the sonic corpus of ethnographical research does not stop there; it also includes recorded \"notepads,\" recordings related to daily life, telephone messages, etc. A large part of these sound data is discarded at the time of analysis and writing. What if it were otherwise? Relying on my research on cultural expressions of political conflicts in Oaxaca (Mexico), I propose a reflective approach to an initially discarded corpus of sounds, in order to reevaluate my listening and recording position as an anthropologist.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.2601356","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:13Z","timestamp":1733131513000},"source":"Crossref","is-referenced-by-count":0,"title":["Sound Scraps and Resources of Ethnographic Writing"],"prefix":"10.22501","author":[{"family":"Julie M\u00e9tais","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:31:47Z","timestamp":1784287907000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2601356\/2601357"}},"issued":{"date-parts":[[2024,2,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/jss.2601356","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2024,2,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:15Z","timestamp":1784289855316,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2013,12,8]],"date-time":"2013-12-08T00:00:00Z","timestamp":1386460800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2013,12,8]]},"abstract":"This article presents two operas in the context of artistic research: OMNIVORE, an experimental mobile application designed to be experienced with mobile devices, and LA FIGURE DE LA TERRE, a stage performance using reactive audiovisual projections. As the librettist and director of both operas I examine what kind of means and ways of content creation and presentation mediatized opera can bring to librettists and directors. This introduction presents a model for approaching the two differing artworks and sheds light on how they can be structured in the context of artistic research. Later the actual research will explore how the libretto, the storyboard and the structure defining media manuscript are built. The work process of the director and the production chain become pronounced. In this way the research produces new practice-based knowledge about the mediatized nature of opera. The article is in Finnish.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.44413","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:48Z","timestamp":1503635088000},"source":"Crossref","is-referenced-by-count":0,"title":["Mediatisoitunut ooppera - johdanto tutkimukseen"],"prefix":"10.22501","author":[{"family":"Jaakko Nousiainen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:22:06Z","timestamp":1784287326000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/44413\/46024"}},"issued":{"date-parts":[[2013,12,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ruu.44413","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2013,12,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:48Z","timestamp":1784283048719,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,3]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T00:00:00Z","timestamp":1622678400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time. Individual micro-curated expositions are linked together for www.covidglossary.net in order to generate non-linear readings of the pandemic.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1289766","type":"posted-content","created":{"date-parts":[[2021,6,3]],"date-time":"2021-06-03T03:54:19Z","timestamp":1622692459000},"source":"Crossref","is-referenced-by-count":0,"title":["REDEFINED STRAYS"],"prefix":"10.22501","author":[{"family":"moomal shekhawat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Vastavikta Bhagat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:05Z","timestamp":1784282405000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1289766\/1289767"}},"issued":{"date-parts":[[2021,6,3]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1289766","published":{"date-parts":[[2021,6,3]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:43Z","timestamp":1784282983698,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,4]],"date-time":"2024-06-04T00:00:00Z","timestamp":1717459200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Re-reproduir<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1101875","type":"posted-content","created":{"date-parts":[[2024,6,4]],"date-time":"2024-06-04T11:20:29Z","timestamp":1717500029000},"source":"Crossref","is-referenced-by-count":0,"title":["rereproduir"],"prefix":"10.22501","author":[{"family":"David Serra Navarro","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:44Z","timestamp":1784282324000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1101875\/1101876"}},"issued":{"date-parts":[[2024,6,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1101875","published":{"date-parts":[[2024,6,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:55Z","timestamp":1784282995529,"version":"3.55.0"},"posted":{"date-parts":[[2021,6,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T00:00:00Z","timestamp":1622592000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"We at SEA believe that the pandemic has a granularity of meta, non-linear narratives that become useful in making sense of the relational complexities of the pandemic and society. Thus, we set out to collect stories of fears, joys, agilities, fragilities, friendships, networks, collectives, home, work, infrastructures, entrepreneurship, privileges, marginalizations, migrations, desperation, gender, equity, etc. The glossary as a method became useful to reflect on this granularity of experiences and account for slippages during these times. These spatio-temporal stories, when read together or as individual instances produce a new sense of the emergent contemporary. This framework also allows us to speculate on the kind of world we will inhabit once the storm has passed. We draw on multiple readings to bring out the nuances and patterns of social life produced in a pandemic. This we hope would allow us to collectively reflect on the restructured ideas of the self, the collective, society, space, and time.On the pandemic, staying locked in and the anticipation of the unknown.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1282786","type":"posted-content","created":{"date-parts":[[2021,6,2]],"date-time":"2021-06-02T07:54:05Z","timestamp":1622620445000},"source":"Crossref","is-referenced-by-count":0,"title":["Anticipation of the unknown"],"prefix":"10.22501","author":[{"family":"Vastavikta Bhagat","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"moomal shekhawat","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:12Z","timestamp":1784282412000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1282786\/1282787"}},"issued":{"date-parts":[[2021,6,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1282786","published":{"date-parts":[[2021,6,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:55Z","timestamp":1784369095971,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T00:00:00Z","timestamp":1765238400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2025,12,9]]},"abstract":"This exposition proposes revisiting as a method for engaging with long term artistic research. The method was developed while returning to a series of twelve year-long works based on repetition called Animal Years (2002-2014) in the context of the Academy of Finland funded research project How To Do Things With Performance (2016-2020). The same method was further explored as an artistic tool in the project Pondering with Pines (2022-2024). The method could be generalised into revisiting understood as return and repeat, recycle and recombine, reflect and reconsider and adapted to many types of artistic practices.<\/jats:p>\n keywords: revisit, repeat, recreate, reconsider, duration, performance, method<\/jats:p>","DOI":"10.22501\/hub.2797281","type":"journal-article","created":{"date-parts":[[2025,12,9]],"date-time":"2025-12-09T15:39:02Z","timestamp":1765294742000},"source":"Crossref","is-referenced-by-count":0,"title":["Duration through Repetition - Revisiting as Method"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:22:07Z","timestamp":1784366527000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2797281\/2797282"}},"issued":{"date-parts":[[2025,12,9]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/hub.2797281","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2025,12,9]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:18Z","timestamp":1784368998231,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T00:00:00Z","timestamp":1729555200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2024,10,22]]},"abstract":"Skolbrandsarkeologi (\u201cSchool Fire Archaeology\u201d) is an artistic excavation (2022\u20132026) of Sl\u00e4ttg\u00e5rdsskolan in Sk\u00e4rholmen, Stockholm, led by artist Patrick Kretschek. The art project uses contemporary archaeology, participatory art, and documentary methods to explore the aftermath of the June 1, 2020, school fire. It combines text, photography, film, and artifacts to narrate the event through testimonies from students, teachers, parents, and the public. Exhibited locally at culture house FOLK in Sk\u00e4rholmen, it offers a space for reflection on loss, memory, and reconstruction.<\/jats:p>\n keywords: Skolbrandsarkeologi, Contemporary art, dokumentation, archive, documentary, Archaeology, Participatory Art, School fire, Reconstruction, Museum, Documentary methods, Local community<\/jats:p>","DOI":"10.22501\/vis.2408643","type":"journal-article","created":{"date-parts":[[2024,10,22]],"date-time":"2024-10-22T14:48:09Z","timestamp":1729608489000},"source":"Crossref","is-referenced-by-count":0,"title":["Skolbrandsarkeologi"],"prefix":"10.22501","author":[{"family":"Patrickretschek","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:08:39Z","timestamp":1784365719000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2408643\/2408644"}},"issued":{"date-parts":[[2024,10,22]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/vis.2408643","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2024,10,22]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:40Z","timestamp":1784369080388,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rmc","type":"journal","created":{"date-parts":[[2025,1,15]],"date-time":"2025-01-15T08:46:26Z","timestamp":1736930786000},"source":"Crossref","is-referenced-by-count":0,"title":["Rhythmic Music Conservatory"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:19:42Z","timestamp":1784366382000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2893146\/2893147"}},"short-title":["rmc"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rmc"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:26Z","timestamp":1784369126573,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2024,8,13]],"date-time":"2024-08-13T00:00:00Z","timestamp":1723507200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2024,8,13]]},"abstract":"Jak vypr\u00e1v\u011bt filmem procesu\u00e1ln\u00ed charakter systemick\u00fdch konstelac\u00ed? M\u00fdm z\u00e1m\u011brem bylo prohl\u00e9dnout si, jak\u00e9 varianty jako filma\u0159i m\u00e1me k zobrazen\u00ed komunikace vnit\u0159n\u00edch proces\u016f a v\u00edcevrstevn\u00fdch d\u011bj\u016f prost\u0159ednictv\u00edm audiovize. Sna\u017eila jsem se osahat hranici mezi pro\u017eitkem \u00fa\u010dastn\u00edk\u016f systemick\u00fdch konstelac\u00ed a jeho z\u00e1znamem. Hlavn\u00ed ot\u00e1zkou pro mne bylo, zda je mo\u017en\u00e9 adekv\u00e1tn\u011b zprost\u0159edkovat d\u011bn\u00ed v konstela\u010dn\u00edm poli pomoc\u00ed filmu, a spolu se st\u0159iha\u010dkou Kate\u0159inou Krutskou Vrbovou jsme ve st\u0159i\u017en\u011b zkoumaly, jak\u00e9 filmov\u00e9 a st\u0159ihov\u00e9 p\u0159\u00edstupy by byly pro zachycen\u00ed t\u00e9to slo\u017eit\u00e9 dynamiky nejefektivn\u011bj\u0161\u00ed.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/artact.2491473","type":"journal-article","created":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:27Z","timestamp":1753096707000},"source":"Crossref","is-referenced-by-count":0,"title":["Vrstvy konstelace: pozn\u00e1mky ze st\u0159i\u017eny"],"prefix":"10.22501","author":[{"family":"Tereza Reichov\u00e1","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Kate\u0159ina Krutsk\u00e1 Vrbov\u00e1","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:27:51Z","timestamp":1784366871000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2491473\/2614382"}},"issued":{"date-parts":[[2024,8,13]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/artact.2491473","published":{"date-parts":[[2024,8,13]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:46Z","timestamp":1784369086526,"version":"3.55.0"},"posted":{"date-parts":[[2026,5,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,5,15]],"date-time":"2026-05-15T00:00:00Z","timestamp":1778803200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This expostion presents the research and experimentation process that led to the creation of photographic works developed during June and July 2025 as part of the PhilMe research project (i2ADS\/FBAUP). The residency was carried out within the framework of the postdoctoral research project \u201cMaterialities of Chemical and Digital Photographic Processes in Contemporary Artistic Creation,\u201d developed at i2ADS, FBAUP, in 2025 through the MCTI\/CNPq Public Call No. 16\/2024 for Support of International Scientific, Technological, and Innovation Research Projects. During the residency, the following technical objects were selected: the Bermpohl Naturfarbenkamera camera (trichromy), slide projectors, a negative duplicator, an optics kit, and a box containing used photographic film reels. The exploratory research involved the creation of five works that mobilize procedures such as black and white film photography, the use of slides, discontinued industrial film stocks, digital montage, the transition between digital images and chemical development processes, as well as duplication, copying, and multiplicity as visual poetics. The works share material culture as a transversal axis, both through the selection of photographed objects and through the approach to photography itself, making visible its materialities and technical apparatuses while reflecting on the circularity of images. The artifact thus operates as a guiding thread that traverses the works by foregrounding human action in the transformation of matter according to different intentionalities, including the technologies of play, communication, and the image.A presente exposi\u00e7\u00e3o apresenta o processo de investiga\u00e7\u00e3o e experimenta\u00e7\u00e3o que resultou na cria\u00e7\u00e3o de trabalhos fotogr\u00e1ficos desenvolvidos durante os meses de junho e julho de 2025 na resid\u00eancia art\u00edstica PhilMe - Cole\u00e7\u00e3o de Objetos T\u00e9cnicos e Media da Faculdade de Belas Artes da Universidade do Porto (i2ADS\/FBAUP), no contexto do projeto de investiga\u00e7\u00e3o de p\u00f3s-doutoramento intitulado \u201cMaterialidades dos processos fotogr\u00e1ficos qu\u00edmicos e digitais na cria\u00e7\u00e3o art\u00edstica contempor\u00e2nea\u201d junto ao i2ADS da FBAUP em 2025, atrav\u00e9s da Chamada P\u00fablica MCTI\/CNPq n\u00ba 16\/2024 - Apoio a Projetos Internacionais de Pesquisa Cient\u00edfica, Tecnol\u00f3gica e de Inova\u00e7\u00e3o. Durante a resid\u00eancia, foram selecionados os seguintes objetos t\u00e9cnicos: a c\u00e2mera Bermpohl Naturfarbenkamera (tricromia), projetores de slides, um duplicador de negativos, um kit de \u00f3ptica e uma caixa contendo bobinas de filme fotogr\u00e1fico usadas. A investiga\u00e7\u00e3o, de car\u00e1ter explorat\u00f3rio, compreendeu a cria\u00e7\u00e3o de cinco trabalhos que mobilizam procedimentos como a captura em filme fotogr\u00e1fico preto e branco, o uso de diapositivos, a utiliza\u00e7\u00e3o de filmes descontinuados pela ind\u00fastria, a montagem digital, o tr\u00e2nsito entre imagens digitais e revela\u00e7\u00f5es qu\u00edmicas, bem como a duplica\u00e7\u00e3o, a c\u00f3pia e o m\u00faltiplo como po\u00e9ticas visuais. Os trabalhos apresentam como eixo transversal a cultura material, tanto pela escolha dos objetos fotografados quanto pela abordagem da pr\u00f3pria fotografia, ao tornar vis\u00edveis suas materialidades e seus aparatos t\u00e9cnicos, refletindo sobre a circularidade das imagens. O artefato opera, assim, como fio condutor que atravessa os trabalhos, ao evidenciar a a\u00e7\u00e3o humana na transforma\u00e7\u00e3o da mat\u00e9ria segundo diferentes intencionalidades, entre elas as tecnologias do brincar, da comunica\u00e7\u00e3o e da imagem.<\/jats:p>\n keywords: Artes visuais, fotografia, processos criativos<\/jats:p>","DOI":"10.22501\/i2ads.4174341","type":"posted-content","created":{"date-parts":[[2026,5,15]],"date-time":"2026-05-15T19:30:03Z","timestamp":1778873403000},"source":"Crossref","is-referenced-by-count":0,"title":["Artefatos: \u00e0s voltas com a imagem fotogr\u00e1fica"],"prefix":"10.22501","author":[{"family":"Renata Voss","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:34Z","timestamp":1784366434000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4174341\/4174342"}},"issued":{"date-parts":[[2026,5,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.4174341","published":{"date-parts":[[2026,5,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:10Z","timestamp":1784289790614,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","license":[{"start":{"date-parts":[[2022,9,30]],"date-time":"2022-09-30T00:00:00Z","timestamp":1664496000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2022,9,30]]},"abstract":"This exposition brings together Artistic Research, Science and Technology Studies and Queer Marxism to examine the gestural nature of reproductive politics. It argues for an expansive understanding of the gesture that extends well beyond the domain of the embodied gesture to include different registers and materialities of cultural and scientific inscription. Broadly, I explore reproductive politics not only as a question of reproductive health \u2013of access and choice\u2013 but as the daily negotiation of the body\u2019s value and legibility across communication, labour and political fields. By questioning -through artistic action- the inevitability of the economic and social conditions that devalue or invisibilise reproductive work, this article also elaborates on the gestural nature of artistic research as counter-institutional practice.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.1400064","type":"journal-article","created":{"date-parts":[[2022,9,30]],"date-time":"2022-09-30T06:37:44Z","timestamp":1664519864000},"source":"Crossref","is-referenced-by-count":0,"title":["Gestures and Inscriptions in Ceramics and Sound: A combined STS, Queer Marxist and Artistic Research approach to the study of Reproductive Politics"],"prefix":"10.22501","author":[{"family":"Rebecca Close","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:57Z","timestamp":1784286417000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1400064\/1400065"}},"issued":{"date-parts":[[2022,9,30]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1400064","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2022,9,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:44Z","timestamp":1784289884913,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T00:00:00Z","timestamp":1715558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2024,5,13]]},"abstract":"PhD project: RAD Performance \u2013 Driving Voices of Resistance, Supervisor: Ruth SchnellEnvelope is a publication of the PhD in Art programme at the University of Applied Arts Vienna<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/envelo.2738354","type":"journal-article","created":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T07:25:28Z","timestamp":1715585128000},"source":"Crossref","is-referenced-by-count":0,"title":["SPIRAL BIKE \u2013 mobile concerts and sound art in public space"],"prefix":"10.22501","author":[{"family":"Conny Zenk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:24:42Z","timestamp":1784287482000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2738354\/2738355"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2738354","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2024,5,13]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974805,"version":"3.55.0"},"posted":{"date-parts":[[2023,11,5]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,11,5]],"date-time":"2023-11-05T00:00:00Z","timestamp":1699142400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Prueba tarea<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2364887","type":"posted-content","created":{"date-parts":[[2023,11,5]],"date-time":"2023-11-05T17:12:20Z","timestamp":1699204340000},"source":"Crossref","is-referenced-by-count":0,"title":["Elevator pitch"],"prefix":"10.22501","author":[{"family":"Juan David V\u00e9lez Aristiz\u00e1bal","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:10Z","timestamp":1784282350000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2364887\/2364888"}},"issued":{"date-parts":[[2023,11,5]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2364887","published":{"date-parts":[[2023,11,5]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:30Z","timestamp":1784282970494,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,1]],"date-time":"2026-01-01T00:00:00Z","timestamp":1767225600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article explores monotheistic religions as powerful linguistic and social structures that function through a mechanism of collective delusion. Drawing on Jacques Lacan\u2019s structuralist insights, the text argues that these faiths are not based on objective history but are fictions codified long after the events they describe.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3442029","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:04:49Z","timestamp":1740722689000},"source":"Crossref","is-referenced-by-count":0,"title":["Monotheist Mythology"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:23Z","timestamp":1784282243000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3442029\/3442028"}},"issued":{"date-parts":[[2026,1,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3442029","published":{"date-parts":[[2026,1,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:58Z","timestamp":1784286298192,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T00:00:00Z","timestamp":1780012800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,29]]},"abstract":"Prototype Staging Listening Research<\/jats:p>\n keywords: Audibility, Acoustic Fiction, Sound and Space, Theatre, KonCon Lectorate<\/jats:p>","DOI":"10.22501\/koncon.3221587","type":"journal-article","created":{"date-parts":[[2026,5,29]],"date-time":"2026-05-29T08:26:21Z","timestamp":1780043181000},"source":"Crossref","is-referenced-by-count":0,"title":["Staging Listening"],"prefix":"10.22501","author":[{"family":"Gabriel Paiuk","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:20:13Z","timestamp":1784283613000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3221587\/3221588"}},"issued":{"date-parts":[[2026,5,29]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3221587","published":{"date-parts":[[2026,5,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:53Z","timestamp":1784289833719,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T00:00:00Z","timestamp":1560470400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2019,6,14]]},"abstract":"Through stories recounting experiences of disorientation and the process of reorientation, potentials are found for rethinking our relation to built surroundings. Engaging with art historical examples of architectural art installations that use methods repetition and replication, disorientation is approached as a catalyst for a process of \u2018immanent critique\u2019. This presents a way to critically engage with and inflect what is happening in the moment while remaining within the immediacy of that moment. This holds the potential for a participant in the event to inflect the event with one\u2019s own implicated agency. The unfolding event is redirected, and novelty can emerge. The artworks of Mike Nelson, Gregor Schneider and Glenn Seator are discussed as sharing methods of artistic practice that catalyse immanent critique through their disorienting installations. Through a discussion of a selection of art installations, this paper proposes how employing methods of architectural repetition or doppelg\u00e4ngers can result in a catalytic disorientation. It is within this experience or event of disorientation that an immanent critique can take place, and where potentials for change can be taken up.<\/jats:p>\n keywords: Installation Art, architecture, perception<\/jats:p>","DOI":"10.22501\/ruu.423399","type":"journal-article","created":{"date-parts":[[2019,6,14]],"date-time":"2019-06-14T05:48:50Z","timestamp":1560491330000},"source":"Crossref","is-referenced-by-count":0,"title":["The event of disorientation: artistic methods of immanent critique"],"prefix":"10.22501","author":[{"family":"Scott Andrew Elliott","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:13:34Z","timestamp":1784286814000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/423399\/558445"}},"issued":{"date-parts":[[2019,6,14]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/ruu.423399","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2019,6,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:06Z","timestamp":1784286366169,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,5,16]],"date-time":"2023-05-16T00:00:00Z","timestamp":1684195200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,16]]},"abstract":"An overabundance of mental distractions may prevent musicians\u2019 minds from being in the moment while practicing. The present mixed-methods study examined the effects of three newly designed mindfulness meditations on six conservatory violinists\u2019 levels of dispositional mindfulness, mind-wandering and respective variables. Thought probes were used before and after the intervention to examine frequency of mind-wandering and contextual variables (task difficulty, fatigue and stress, and motivation) during two hours of participants\u2019 instrumental practice (one of technical work another of a new piece in their repertoire). FFQM (Five Facet Mindfulness Questionnaire) and MfM (Mindfulness for Musicians) questionnaires were used to measure mindfulness levels before and after the intervention. Interviews and meditation logs were used as qualitative data. Results indicated that all participants became more mindful at the end of the meditation week for all mindfulness\u2019 facets for the FFQM and MfM questionnaires. However, the improvements were particularly noticeable for the \u201cActing with Awareness\u201d and \u201cNon-Judge\u201d facets for the FFQM and for \u201cDescribe\u201d in the MfM. Results showed opposing trends in mind-wandering levels throughout the intervention. That is, some participants showed higher mind-wandering at the post-intervention and others lower. However, contextual variables such as fatigue, motivation or worry, may have also affected how much participants wandered while practicing (e.g. some of them showed more rumination when being more worried and having slept less). Overall, results from the experiment evidenced the importance of including mindfulness in violinists\u2019 daily practice as a useful routine to become more aware and less distracted.<\/jats:p>\n keywords: Mindfulness, Attentional focus, wellbeing, well-being, Meditation, violin, mind-wandering, distraction, practice, Thesis, tools<\/jats:p>","DOI":"10.22501\/koncon.1917780","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:29Z","timestamp":1725907049000},"source":"Crossref","is-referenced-by-count":0,"title":["Mindfulness for violinists"],"prefix":"10.22501","author":[{"family":"Sacha Paredes S\u00e1nchez","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:32:28Z","timestamp":1784284348000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1917780\/1971665"}},"issued":{"date-parts":[[2023,5,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1917780","published":{"date-parts":[[2023,5,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:34Z","timestamp":1784282974821,"version":"3.55.0"},"posted":{"date-parts":[[2023,12,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,12,22]],"date-time":"2023-12-22T00:00:00Z","timestamp":1703203200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This project is part of the bigger project \"Autistiskt skrivande. Ett modersm\u00e5l \/ Autistic Writing. A Mother Tongue\", funded by Vetenskapsr\u00e5det. The bigger project aims to investigate neuroqueer, and specifically autistic ways of using language. Melanie Yergeau use the term \"neuroqueer\" to point to the \"sidling, desiring, idealizing\" aspects of being of a neurofunction set apart from the neurotypical norm. This article is a collaborative piece of writing, created as a poetic research method in how rhetorics are used to inform and create oppressive as well as empowering games of language. Julia Miele Rodas calls it an Autistic Poetics, a way of living with words that exceeds the communicative aspect and leaks into the a(u\/r)tistic mind. This text was written as a letter correspondence, a love act, and a curious performance. It is based in a neuromixed research environment and investigates the poetic mode of writing as a platform for further understanding. About the autors:Hanna Bertilsdotter Rosqvist is an Associate Professor in Sociology and currently a Senior Lecturer in Social work at S\u00f6dert\u00f6rn University. Their research is primary oriented towards disability, but also on gender, sexuality and spaceElisabeth Hjorth is an author, essayist and Senior Lecturer in Literary Composition at Gothenburg University. Their latest publication was Mutant (Gl\u00e4nta, 2021)Anna Nygren is an author, dramaturgue and Lecturer in Literary Composition at Gothenburg University. Their latest publication was Fuck Your Marsvin And D\u00f6 (Poesiwerken, 2021)<\/jats:p>\n keywords: poetry, neuroqueerness<\/jats:p>","DOI":"10.22501\/rc.1706699","type":"posted-content","created":{"date-parts":[[2023,12,22]],"date-time":"2023-12-22T03:32:20Z","timestamp":1703215940000},"source":"Crossref","is-referenced-by-count":0,"title":["Rules for the Rigorous"],"prefix":"10.22501","author":[{"family":"Anna Nygren","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:59Z","timestamp":1784282339000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1706699\/1706698"}},"issued":{"date-parts":[[2023,12,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1706699","published":{"date-parts":[[2023,12,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:35Z","timestamp":1784282975878,"version":"3.55.0"},"posted":{"date-parts":[[2026,6,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,6,9]],"date-time":"2026-06-09T00:00:00Z","timestamp":1780963200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Nabra is a practice-based photographic research project exploring Nubian cultural memory, displacement and material transformation through alternative photographic processes, moving image and installation.<\/jats:p>\n keywords: Nubia, Materiality, Alternative Photographic Processes, Anthotype, Cyanotype, Cultural Memory, Practice-Based Research, Photography and Place, Error as Method, Moving Image, Installation, Nubia, egypt, alternative photography, artistic processes, artistic method<\/jats:p>","DOI":"10.22501\/rc.4677869","type":"posted-content","created":{"date-parts":[[2026,6,9]],"date-time":"2026-06-09T14:18:48Z","timestamp":1781014728000},"source":"Crossref","is-referenced-by-count":0,"title":["NABRA"],"prefix":"10.22501","author":[{"family":"Nigel Grey Dubois","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:34Z","timestamp":1784282194000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4677869\/4677870"}},"issued":{"date-parts":[[2026,6,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4677869","published":{"date-parts":[[2026,6,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:40Z","timestamp":1784282980133,"version":"3.55.0"},"posted":{"date-parts":[[2022,11,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,11,12]],"date-time":"2022-11-12T00:00:00Z","timestamp":1668211200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exhibition is a collection of the past work leading to Hubert's latest movement research: \u201cI\u2019ll make a sweater out of this, I swear\u201d. His researches are centered around entanglement and the diffraction of Quebec\u2019s colonial history as well as the navigation in familial lineage. This exhibition shows the process of unbecoming and of mixing and knitting oneself with others\u2019 tread.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1787781","type":"posted-content","created":{"date-parts":[[2022,11,12]],"date-time":"2022-11-12T10:22:34Z","timestamp":1668248554000},"source":"Crossref","is-referenced-by-count":0,"title":["I'll make a sweater out of this, I swear"],"prefix":"10.22501","author":[{"family":"Hubert Th\u00e9riault","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:42Z","timestamp":1784282382000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1787781\/1787782"}},"issued":{"date-parts":[[2022,11,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1787781","published":{"date-parts":[[2022,11,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:49Z","timestamp":1784286469419,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,5,9]],"date-time":"2022-05-09T00:00:00Z","timestamp":1652054400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,5,9]]},"abstract":"This interdisciplinary research presents a contextualisation and musico-literary analysis on the French poem and art song \u201cColloque sentimental\u201d from Paul Verlaine and Claude Debussy, followed by a full-fledged transcription of this \u2018m\u00e9lodie\u2019 for English horn, expanding the existing oboe repertoire. In the annotation and interpretation of \u201cColloque sentimental\u201d, a poetical and vocal approach has been applied, aiming to communicate a deeper understanding of the \u2018po\u00e9sie\u2019 and \u2018m\u00e9lodie\u2019 for performance practices. The studying and singing of the song resulted in an experimentation and reflection of playing the \u2018m\u00e9lodie\u2019 on English horn, a process of musically translating the poetry into an instrumental transcription that takes into account the particularities and possibilities of the language and voice as well as these of the instrument in question, with the aim of providing useful material for fellow oboists and those who are interested. For example, it was demonstrated during the research process how the understanding of literary and vocal phrases enhances horizontal and legato phrasing on English horn. Consequently, an important challenge in this case consisted of writing the transcription in a feasible notation that would be playable for any oboist, even without prior knowledge of the French language and poetry, hopefully leading to a poetical and purposeful performance of the piece.<\/jats:p>\n keywords: sentimental, Verlaine, Debussy, 20th century, oboe, French, poetry, art song, English horn, m\u00e9lodie, voice, Transcription, Colloque sentimental, poem<\/jats:p>","DOI":"10.22501\/koncon.1432269","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T05:33:52Z","timestamp":1725860032000},"source":"Crossref","is-referenced-by-count":0,"title":["OBOETRY \u2013 French poetry played in melody: a poetical &amp; vocal approach to French 'm\u00e9lodie' on oboe"],"prefix":"10.22501","author":[{"family":"Anna Marieke Zijlstra","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:37:11Z","timestamp":1784284631000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1432269\/1433348"}},"issued":{"date-parts":[[2022,5,9]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1432269","published":{"date-parts":[[2022,5,9]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:52Z","timestamp":1784282932406,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,7]],"date-time":"2026-03-07T00:00:00Z","timestamp":1772841600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article examines the musical legacy of 20th-century piano composers through the lens of modern educational technologies. The focus is on analyzing the transformations in the study and mastery of piano pieces by the integration of digital tools and resources in educational process , as well as on the application of a transgressive approach in piano education. The article provides examples of integrating digital resources into educational practices and offers recommendations for their effective use in studying musical heritage in piano classes.<\/jats:p>\n keywords: Music Education, piano practice, piano pedagogy, XX century, new technologies, education, musicality<\/jats:p>","DOI":"10.22501\/rc.4244792","type":"posted-content","created":{"date-parts":[[2026,3,7]],"date-time":"2026-03-07T12:04:26Z","timestamp":1772885066000},"source":"Crossref","is-referenced-by-count":0,"title":["Integrating Contemporary Educational Technologies into the Study of 20th-Century Foreign Piano Repertoire"],"prefix":"10.22501","author":[{"family":"Angelina Tarlovskaia","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:01Z","timestamp":1784282221000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4244792\/4244793"}},"issued":{"date-parts":[[2026,3,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4244792","published":{"date-parts":[[2026,3,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:28Z","timestamp":1784283028727,"version":"3.55.0"},"posted":{"date-parts":[[2019,1,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,1,24]],"date-time":"2019-01-24T00:00:00Z","timestamp":1548288000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"MA SODA 401 Workbook<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.549423","type":"posted-content","created":{"date-parts":[[2019,1,24]],"date-time":"2019-01-24T11:42:59Z","timestamp":1548330179000},"source":"Crossref","is-referenced-by-count":0,"title":["Graduation Piece"],"prefix":"10.22501","author":[{"family":"Mariana Nobre Vieira","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:49Z","timestamp":1784282449000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/549423\/549424"}},"issued":{"date-parts":[[2019,1,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.549423","published":{"date-parts":[[2019,1,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:11:17Z","timestamp":1784283077932,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"29","license":[{"start":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T00:00:00Z","timestamp":1687737600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2023,6,26]]},"abstract":"Government-regulated business closures, social distancing from people, and stay-at-home orders emptied the urban environment of the presence of people. This effectively created new sonic relationships between natural and urbanised sounds within our built society. As Covid-19 instilled a state of abandonment from our urban spaces with each variation of lockdowns, there was an opportunity to document these changes through a sonic-journalistic approach. The research is developed through artistic practice-based creative projects that capture the transitional events of Lockdown 1 and Lockdown 2 between March and October 2020 in Belfast, Northern Ireland. Fifteen locations and forty-one audio-photographic files were captured during this period, focusing on perceptions and observations of Covid-19 and the sonic effect on urban spaces. This collection of material acts as a documentation of place through sensory information and has been distributed onto online platforms such as soundmaps (soundwalk apps or browser maps), which allow for revising our understanding and reflecting on changes instilled by the pandemic. The creative projects provide a timeframe of how each lockdown changed our relationship with urban spaces during a global pandemic due to the regulations and distancing from others to combat the virus. This exposition discusses the immediate planning and procedures for capturing material during the events of Covid-19, with a review of certain soundscape compositions based on the sonic relationships of urban spaces.<\/jats:p>\n keywords: Soundwalking, Soundscapes, Urban Space, Covid-19, Auto-Methodologies, Soundmaps<\/jats:p>","DOI":"10.22501\/jar.1712696","type":"journal-article","created":{"date-parts":[[2023,6,26]],"date-time":"2023-06-26T05:37:08Z","timestamp":1687757828000},"source":"Crossref","is-referenced-by-count":0,"title":["Documenting Sounds in Urban Places: Belfast During Covid-19 Lockdowns 1 and 2"],"prefix":"10.22501","author":[{"family":"Georgios Varoutsos","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:15Z","timestamp":1784282475000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1712696\/1712697"}},"issued":{"date-parts":[[2023,6,26]]},"references-count":0,"journal-issue":{"issue":"29"},"URL":"https:\/\/doi.org\/10.22501\/jar.1712696","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2023,6,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996792,"version":"3.55.0"},"posted":{"date-parts":[[2023,10,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T00:00:00Z","timestamp":1697760000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"My second exposition<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2346286","type":"posted-content","created":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T07:04:15Z","timestamp":1697785455000},"source":"Crossref","is-referenced-by-count":0,"title":["My second exposition"],"prefix":"10.22501","author":[{"family":"Vincent Meelberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:12Z","timestamp":1784282352000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2346286\/2346287"}},"issued":{"date-parts":[[2023,10,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2346286","published":{"date-parts":[[2023,10,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:06Z","timestamp":1784283006928,"version":"3.55.0"},"posted":{"date-parts":[[2018,4,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2018,4,28]],"date-time":"2018-04-28T00:00:00Z","timestamp":1524873600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Visual an written essay exploring the conceptual scope of \"La Prospettiva is sucking reality\", a series of paintings, song and video I made in 2010.It\u2019s by following the idea that art is a construction of starting points, stimuli to mind, I reflect on my own work as an artist, or where my artistic work plays a central role on my seek for the understanding of the mechanisms of art and mind. Here exploring the conceptual possibilities raised by evoking \"La Prospettiva\", understanding the aesthetical experience as the place where image and reality become the same.<\/jats:p>\n keywords: Performance, video performance, Painting, Conceptual art, music, Prospettiva, Giotto, Duchamp, Antonio Olaio<\/jats:p>","DOI":"10.22501\/rc.134095","type":"posted-content","created":{"date-parts":[[2018,4,28]],"date-time":"2018-04-28T06:23:07Z","timestamp":1524896587000},"source":"Crossref","is-referenced-by-count":0,"title":["La Prospettiva is sucking reality"],"prefix":"10.22501","author":[{"family":"Antonio Olaio","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:51Z","timestamp":1784282451000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/134095\/134096"}},"issued":{"date-parts":[[2018,4,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.134095","published":{"date-parts":[[2018,4,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:37Z","timestamp":1784286217931,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2020,12,29]],"date-time":"2020-12-29T00:00:00Z","timestamp":1609200000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,12,29]]},"abstract":"Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] \u201cthe theatre of all my struggles and all my ideas.\u201d As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that \u2018theatre\u2019 to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around \u2018greenhouse\u2019 as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers \u2018indirections\u2019 urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that \u2018theatre-laboratory\u2019 with you\u2014the reader and exposition visitor\u2014the actors look for cues that encourage further procedures of experimentation and reflexion.<\/jats:p>\n keywords: Walter Benjamin, environmental art, archival art practice, translating, threeing, arcades project, greenhouse, Konstfack portal - research, Konstfack portal - peer reviewed<\/jats:p>","DOI":"10.22501\/jar.1061702","type":"journal-article","created":{"date-parts":[[2020,12,29]],"date-time":"2020-12-29T07:13:22Z","timestamp":1609226002000},"source":"Crossref","is-referenced-by-count":0,"title":["Methods of Indirection: a trialogue between Patrizia Bach, Howard Eiland, and Luis Berr\u00edos-Negr\u00f3n about Walter Benjamin and translating The Arcades Project"],"prefix":"10.22501","author":[{"family":"Luis Berr\u00edos-Negr\u00f3n","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Patrizia Bach","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Howard Eiland","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:06:33Z","timestamp":1784282793000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1061702\/1076294"}},"issued":{"date-parts":[[2020,12,29]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jar.1061702","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2020,12,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:20Z","timestamp":1784282960948,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T00:00:00Z","timestamp":1769126400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"A Museum of Breath: Designing Spaces for Attention, Not Spectacle proposes an alternative architectural and curatorial ethic for contemporary museums in an era increasingly governed by speed, spectacle, and attention economies. Departing from the dominant model of the museum as a site of circulation, visual consumption, and algorithmic visibility, the essay advances the concept of the Museum of Breath\u2014an institution designed not to display objects efficiently, but to protect and cultivate human attention as an ethical resource.Drawing on architectural phenomenology, aesthetic philosophy, and sacred spatial traditions, the essay argues that attention is not merely perceptual but moral: to attend fully is to suspend ego, resist extraction, and honor presence. Museums, once spaces of reverence and contemplation, have gradually adopted architectures optimized for movement, accumulation, and self-documentation. This shift, the essay contends, is not accidental but infrastructural, embedded in circulation patterns, lighting regimes, material choices, and curatorial metrics that privilege velocity over duration.The Museum of Breath is proposed as a counter-model. Its design principles emphasize subtraction, stillness, and respiratory rhythm. Architecture is treated as a living system\u2014one that expands and contracts, modulates light and air, and guides the visitor\u2019s pace through compression and release. Influenced by the work of architects such as Tadao Ando, Peter Zumthor, and Louis Kahn, as well as artists including Agnes Martin, Marina Abramovi\u0107, and Eija-Liisa Ahtila, the essay situates breathing as both a physiological and aesthetic organizing principle.Curation within this framework becomes an ethics of restraint. The curator is reimagined as a custodian of attention rather than a manager of content, responsible for creating conditions of duration, silence, and perceptual humility. The essay further critiques the market logic that renders spectacle measurable and stillness invisible, proposing alternative evaluative values grounded in slowness, absence, and unrecordable experience.Rather than offering a finalized architectural blueprint, A Museum of Breath presents a speculative yet rigorous proposal for rethinking museum design, curatorial practice, and institutional purpose. It invites architects, curators, and theorists to reconsider the museum not as a theatre of objects, but as a sanctuary for presence\u2014one that restores the human pulse in spaces increasingly designed to exhaust it.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and _Art as Truth: A Treatise_ (Q136329071), _Aesthetic Recursion Theory_ (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946)Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen.<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Phenomenology, Aesthetic Phenomenology, Phenomenology of Aesthetic, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Custodian\u2019s Oath, The Doctrine of Post-Interpretive Criticism, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4142427","type":"posted-content","created":{"date-parts":[[2026,1,23]],"date-time":"2026-01-23T14:43:01Z","timestamp":1769179381000},"source":"Crossref","is-referenced-by-count":0,"title":["A Museum of Breath: Designing Spaces for Attention, Not Spectacle"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:17Z","timestamp":1784282237000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4142427\/4142426"}},"issued":{"date-parts":[[2026,1,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4142427","published":{"date-parts":[[2026,1,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:19Z","timestamp":1784289979743,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"04","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"This article presents Kodwo Eshun's concept of sonic fiction as an advanced and adequate methodological approach to sound studies. The references of More Brilliant Than The Sun (Eshun 1998) to afrofuturism and their methodological elaboration in Steve Goodman's Sonic Warfare (Goodman 2010) are discussed \u2013 as well as the strong epistemological connections to Michel Serres' reflections in his anthropology of the senses. Finally, this article explores the historical ramifications of the concept of sonic fictions in Alexander Baumgarten's concept of an aesthetic heuristic and ends with an enumeration of ten criteria for the methodological application of sonic fiction.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.290688","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:01Z","timestamp":1733131561000},"source":"Crossref","is-referenced-by-count":0,"title":["ADVENTURES IN SONIC FICTION: A HEURISTIC FOR SOUND STUDIES"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-9769-4007","authenticated-orcid":false,"family":"Holger Schulze","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:42:51Z","timestamp":1784288571000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/290688\/290689"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"04"},"URL":"https:\/\/doi.org\/10.22501\/jss.290688","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:57Z","timestamp":1784289837113,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2018,3,16]],"date-time":"2018-03-16T00:00:00Z","timestamp":1521158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"Ant-ic Intra-Actions \u2013 an experiential exploration of artistic co-production with wood ants.<\/jats:p>\n keywords: Participatory Art, Art, Ants, Painting, intra-action, Nonhuman participation, forest<\/jats:p>","DOI":"10.22501\/ruu.371152","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:37Z","timestamp":1538221777000},"source":"Crossref","is-referenced-by-count":0,"title":["Ant-ic Intra-Actions"],"prefix":"10.22501","author":[{"family":"Fiona MacDonald","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:16:37Z","timestamp":1784286997000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/371152\/371153"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.371152","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:52Z","timestamp":1784282932387,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,10]],"date-time":"2026-01-10T00:00:00Z","timestamp":1768003200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Author: Dorian ValeAffiliation: Museum of One \u2014 Registered Archive and Independent Research Institute for Contemporary AestheticsMuseum of One|Written at the ThresholdAbstractThis essay argues that Post-Interpretive Criticism (PIC), through its diagnostic indices, represents the completion of a philosophical project initiated by Edmund Husserl and refined through Mikel Dufrenne\u2019s phenomenology of aesthetic experience. Where Husserl sought to unite mathematical rigor with phenomenological inquiry but lacked a suitable domain, and where Dufrenne applied phenomenology to aesthetics but remained purely descriptive, PIC operationalizes their insights through measurable linguistic behavior. The framework\u2019s five indices, Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI), structuralize Dufrenne\u2019s distinction between the work of art and the aesthetic object, while providing the mathematical formalization Husserl believed necessary for philosophy as rigorous science. This essay traces the intellectual lineage from Husserl\u2019s transcendental phenomenology through Dufrenne\u2019s aesthetic application to PIC\u2019s diagnostic formalization, demonstrating how the indices measure whether criticism honors or violates the phenomenological structure of aesthetic encounter. Furthermore, it shows how PIC\u2019s theoretical framework, particularly Stillmark and Hauntmark theories, completes Dufrenne\u2019s \u201cnever-ending dialectic\u201d by formalizing the ethical residue that remains after aesthetic experience.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946)Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.<\/jats:p>\n keywords: Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Art encounter ethics, Language as violence, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Contemporary sacred aesthetics, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.4108400","type":"posted-content","created":{"date-parts":[[2026,1,10]],"date-time":"2026-01-10T13:49:29Z","timestamp":1768052969000},"source":"Crossref","is-referenced-by-count":0,"title":["From Husserl's Mathematics to Dufrenne's Aesthetics: Toward a Formalization of Phenomenological Aesthetics"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:21Z","timestamp":1784282241000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4108400\/4108399"}},"issued":{"date-parts":[[2026,1,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4108400","published":{"date-parts":[[2026,1,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:20Z","timestamp":1784283020754,"version":"3.55.0"},"posted":{"date-parts":[[2014,9,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2014,9,1]],"date-time":"2014-09-01T00:00:00Z","timestamp":1409529600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This essay looks to the idea that removing aesthetic character from art provokes an inherent natural way of sensing objects and events from our minds. This concept sees controlled meaningful content in art as the basis of intellectual values that work to suppress a view that only comes to mind when these values are absent from our thoughts. I am looking to see art as a tool that can be used to give recall of an innate inborn form of awareness that we inherit from our animal origins but now keep dormant in day-to-day awareness, and my assertion is that we have evolved to suppress this original experience through controlling how we create art through intelligent learned understanding. If an artist is unaware of this they will be working to suppress, rather than reveal, these old dormant powers of perception. I have used <i> A Note on the physical object hypothesis by Richard Wollheim<\/i> as the basis of this enquiry, and I am looking to understand that when an artist removes all controlled ways of working and intellectual ideas from what they do \u2013 by working through chance and accident \u2013 the end result creates a catalyst that triggers the return of our old ability to sense through animal instinct.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.87559","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:54:41Z","timestamp":1498053281000},"source":"Crossref","is-referenced-by-count":0,"title":["Abating Aesthetic character"],"prefix":"10.22501","author":[{"family":"Christopher Hollins","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:04Z","timestamp":1784282464000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/87559\/87560"}},"issued":{"date-parts":[[2014,9,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.87559","published":{"date-parts":[[2014,9,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:22Z","timestamp":1784283022074,"version":"3.55.0"},"posted":{"date-parts":[[2024,5,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T00:00:00Z","timestamp":1715558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Informed by queer life practices, theories, and affinities, this documented artistic research project (doctoral thesis) draws from new materialist and post-humanist discourse in order to reconsider what role visual media play in the historical need to separate the human and the environmental. It asks, how do we challenge prevailing perceptions of film and photography as inexorably linked to ideas of progress and modernisation, to linear temporality, spatial separation, and to land-based thought? Based on the acknowledgement that we need to rethink our position as humans within the multiple habitats that make up the world, I investigate the ways in which the apparatus of film, rather than being an extension of human perception, attests to the material interdependences and co-productions that hold a potential for converging human and nonhuman perspectives. \"Tidal Zones \u2013 Filming Between Life and Images\" considers the cinematic space of the ocean alongside Jean Epstein\u2019s film \"Le Tempestaire\" (1947); it follows early photographic chemical methods involving seaweed to both develop film and to examine the technical intra-activity of human and nonhuman regimes as part of photography itself. Within the scope of this research, I argue and demonstrate how film engages in a sensory and reciprocal involvement with the material world, one that addresses the ability to sense, not just with one\u2019s eyes, but with the entire body.\"Tidal Zones\" are real locations, the habitat of a multitude of organisms, and the home of seaweeds. It is a place that is neither land nor sea but constitutes a zone with its own specific relationships and living conditions. In its refusal to be either or, it forms a (non-binary) temporal figuration between presence and absence, solid and liquid, life and death, dictated by the motions of spiral and circular time. This space, \"Between Life and Images\", is the chemical rockpool (the darkroom) out of which photography and film grew.The PhD submission consists of four film-works, \"The Etna Epigraph\" (2022), \"Seaweed Film\" (2023), \"Coenaesthesis \u2013 It Is Not Even True That There Is Air Between Us\" (2023) and \"The Spiral Dramaturgy\" (2019) along with the exhibition \"The Tidal Zone\" shown at Index - The Swedish Con-temporary Art Foundation, Stockholm, from 25 November 2022 to 12 February 2023 and at Havremagasinet, L\u00e4nskonsthall Boden from 14 October 2023 to 11 February 2024. The films and documentation from the exhibitions are included in the submission, which also includes an \u201cOpening Letter\u201d and two texts called \u201cFilming with the Ocean\u201d and \u201cMethodology of the Spiral\u201d.This dissertation has been carried out and supervised within the graduate programme in Visual Arts at the Royal Institute of Art. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malm\u00f6 Faculty of Fine and Performing Arts, Lund University, and the Royal Institute of Art regarding doctoral education in the subject Visual Arts.<\/jats:p>\n keywords: Film, materiality, feminist methodology, cinema, art, moving images, Jean Epstein, queer cinema, temporality, queer temporality, eco-developing, seaweed, spiral dramaturgy, more-than-human realms, nonhuman, Ulla Ryum, post-humanism, queer life practices, high sensitivity, environmental illness, seeing with the body, non-linear storytelling, filming with the ocean, new materialism<\/jats:p>","DOI":"10.22501\/rc.2659625","type":"posted-content","created":{"date-parts":[[2024,5,2]],"date-time":"2024-05-02T10:03:21Z","timestamp":1714644201000},"source":"Crossref","is-referenced-by-count":0,"title":["Tidal Zones \u2013 Filming Between Life and Images"],"prefix":"10.22501","author":[{"family":"Kajsa Dahlberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:46Z","timestamp":1784282326000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2659625\/2767303"}},"issued":{"date-parts":[[2024,5,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2659625","published":{"date-parts":[[2024,5,13]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:03Z","timestamp":1784369043449,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T00:00:00Z","timestamp":1602633600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,10,14]]},"abstract":"In this essay I describe two projects within the field of visual art. Both works are examples of how the workflow techniques of digital photography can be modified in order to produce artworks that take on a distinct physicality and objecthood, and, as such, may form a spatial and\/or haptic relation with the viewer. I discuss how such an approach relates to the ability of photography to point beyond the physical situation of viewing due to the particular virtuality of the photograph. By relating my work to the ideas of Vil\u00e9m Flusser and Roland Barthes, recent theory on photography and photographic indexicality, as well as contemporary artistic work, I speculate here on how my own work illuminates perceptions of the photograph and understandings of the role of photography in today\u2019s media culture and economy.<\/jats:p>\n keywords: photography, technology, materiality, indexicality, virtuality, Installation Art, Roland Barthes, Jeff Wall, Wilem Flusser, Digital, handscroll, installation, Internet, media culture, object, panorama, phenomenology, Erik Friis Reitan, sculpture, semiotics, teleportation, workflow, DIGITAL IMAGING, Handscroll, Media culture, Sculpture, Semiotics, Teleportation, Workflow<\/jats:p>","DOI":"10.22501\/vis.750753","type":"journal-article","created":{"date-parts":[[2020,10,14]],"date-time":"2020-10-14T07:02:09Z","timestamp":1602658929000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing against the camera"],"prefix":"10.22501","author":[{"family":"Erik Friis Reitan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:14:48Z","timestamp":1784366088000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/750753\/750754"}},"issued":{"date-parts":[[2020,10,14]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/vis.750753","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2020,10,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:41Z","timestamp":1784282981895,"version":"3.55.0"},"posted":{"date-parts":[[2020,12,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,12,30]],"date-time":"2020-12-30T00:00:00Z","timestamp":1609286400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Art is not exhibited. Art Exhibits \u2013 Gavin Wade, 2012. Wade\u2019s practise and research challenges the nature and understanding of art\u2019s primary function as an exhibition. His work expands the artist-curator role through his development of new systems of display. These draw on historical precedents creating sculptural mediations between artists, curators, and publics. He proposes transformative artworks as social systems and temporal experiences, always requiring collaboration with others. Drawing from studies of \u2018useful art\u2019, \u2018artist and engineering\u2019, \u2018support structures\u2019 (Condorelli and Wade, 2009) and referencing Artist Placement Group\u2019s concept \u2018context is half the work\u2019, his output informs understandings of \u2018when artists curate\u2019 (Green, 2018) and the \u2018transhistorical museum\u2019 (Demeester, 2018). Wade\u2019s remodelling and extending of a series of \u2018Display Units\u2019 use a process of \u2018upcycling\u2019, a term Wade uses to describe his method. In 2015 Wade started developing artworks upcycled from the \u2018L and T\u2013Type Display Units\u2019 (Frederick Kiesler,1924) and referencing the \u2018Vienna Secession Mobile Wall System\u2019 (Adolf Krischanitz,1986). Wade\u2019s synthesizing method is generating a new A\u2013Z alphabet Display Unit system as part of the process of re-imagining curatorial activities as a form of art practice. His Upcycle This Book (2017), nominated for the European Prix Bob Calle du livre d\u2019artiste, presents 26 texts on this work and 12 Display Unit drawings. Wade created Display Units for \u2018Display Show\u2019(2015), exhibited in Dublin, Birmingham and Netherlands \u2013 funded by ACE\/British Council International Artists Development Award. Christopher Williams (USA), Eilis McDonald (IRE) and Leeds Weirdo Club (UK) were collaborating artists. Wade worked with Frans Hals Museum collection to create \u2018Z is for ZOO\u2019 (2017) exploring the transhistorical potential of his \u2018Z-Type\u2019 and \u2018T-Type\u2019 Display Units, artworks purchased by the museum. His writing for \u2018Display Show\u2019 provided the provocation for \u2018That Art Exhibits\u2019: EARN Conference, Brussels (2016). Wade was the invited keynote speaker.<\/jats:p>\n keywords: curation, Curatorial Studies, artistic research, artist curator, Art and design 2021<\/jats:p>","DOI":"10.22501\/rc.1100979","type":"posted-content","created":{"date-parts":[[2020,12,30]],"date-time":"2020-12-30T12:44:29Z","timestamp":1609332269000},"source":"Crossref","is-referenced-by-count":0,"title":["A\u2013Z Display Units (After Kiesler &amp; Krischanitz) 2015\u20132020"],"prefix":"10.22501","author":[{"family":"Gavin Wade","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:21Z","timestamp":1784282421000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1100979\/1100980"}},"issued":{"date-parts":[[2020,12,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1100979","published":{"date-parts":[[2020,12,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:51Z","timestamp":1784282991046,"version":"3.55.0"},"posted":{"date-parts":[[2024,2,22]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T00:00:00Z","timestamp":1708560000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Reconfiguring the Landscape at IRCAM was the third physical meeting of the three Reconfiguring the Landscape composers Natasha Barrett, Nadine Sch\u00fctz and Andrew Knight-Hill. The group met at IRCAM in Paris from November 18 to 28 to embark on an intensive period of industrial site audio investigation, workshops, artistic creation, public panel discussions and listening sessions. The work period and public exhibitions were supported by and carried out in collaboration with IRCAM.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1508796","type":"posted-content","created":{"date-parts":[[2024,2,22]],"date-time":"2024-02-22T13:53:46Z","timestamp":1708610026000},"source":"Crossref","is-referenced-by-count":0,"title":["Reconfiguring the Landscape at IRCAM"],"prefix":"10.22501","author":[{"family":"Natasha Barrett","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:52Z","timestamp":1784282332000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1508796\/1508797"}},"issued":{"date-parts":[[2024,2,22]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1508796","published":{"date-parts":[[2024,2,22]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025326,"version":"3.55.0"},"posted":{"date-parts":[[2023,10,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,10,23]],"date-time":"2023-10-23T00:00:00Z","timestamp":1698019200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"WALKING-CHOREOGRAPHY KITYou will find a collection of experiments, questions to the research and reactions of participants.Feel free to use it as a playground.<\/jats:p>\n keywords: artistic research, Baukasten, walking, urban space, urban exploration, participatory choreography, Building kit, audio play<\/jats:p>","DOI":"10.22501\/rc.1936090","type":"posted-content","created":{"date-parts":[[2023,10,23]],"date-time":"2023-10-23T11:08:15Z","timestamp":1698059295000},"source":"Crossref","is-referenced-by-count":0,"title":["SCHRITTWEISE engl. Version"],"prefix":"10.22501","author":[{"family":"Katja M\u00fcnker, Andrea Keiz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Katja M\u00fcnker","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:11Z","timestamp":1784282351000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1936090\/1936086"}},"issued":{"date-parts":[[2023,10,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1936090","published":{"date-parts":[[2023,10,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:24Z","timestamp":1784369124878,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2025,4,8]],"date-time":"2025-04-08T00:00:00Z","timestamp":1744070400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2025,4,8]]},"abstract":"HACKING SOUND SENSORIALITY_how to build embodied sound objects for electroacoustic music with lofi techniquesDisembodiment is not new and does not only exist because of the current technological reality. It is an experience that various practitioners, in the field of music, experience constantly. The composer\/producer\/musician\/sound designer moves the material. The listener only perceives its virtual representation. How to bridge the gap between the bodily experience of sound creation and its fruition and further (re)creation in the virtual world? By using synesthesia in the creation of an object-based sound method and vocabulary with the use of lofi techniques. A synesthesia of sensory roots to place the body-cosmos at the centre of sound, to make this simulacrum of identity a bridge between the articulate and the inarticulate, between the real and the virtual. Lofi thought, with its techniques for creating and modifying sound, has a new vision of technology, linked to knowledge and memories of the body.The aim is to design a new vocabulary of tools and methods for the creation of sound objects with different degrees of embodiment. These sound objects will be designed to live in two worlds: in the disembodied world of the virtual and in the material world of corporeal sonority.The article explores the use of a practical and philosophical hacking that does not colonise the new virtual sound territories, emptying them of resources and meanings, but amplifies them through the semiotics of the ancient territories of the body, in order to make them habitable and fertile.<\/jats:p>\n keywords: sound design, electroacoustic music composition, lofi, embodied methodology, electronic and electroacoustic music, production process, studio as a compositional tool, recording studio production, hacking, sound art, music technology<\/jats:p>","DOI":"10.22501\/artact.3233312","type":"journal-article","created":{"date-parts":[[2025,7,21]],"date-time":"2025-07-21T11:18:42Z","timestamp":1753096722000},"source":"Crossref","is-referenced-by-count":0,"title":["HACKING SOUND SENSORIALITY"],"prefix":"10.22501","author":[{"family":"Marie Rose Sarri","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:27:41Z","timestamp":1784366861000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3233312\/3233313"}},"issued":{"date-parts":[[2025,4,8]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/artact.3233312","published":{"date-parts":[[2025,4,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:03Z","timestamp":1784289783639,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","license":[{"start":{"date-parts":[[2023,11,9]],"date-time":"2023-11-09T00:00:00Z","timestamp":1699488000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2023,11,9]]},"abstract":"This research paper focuses on three different gardens located far away from one another. The common nominator of these gardens is to bring the community together for sharing vegetables, herbs, and discussions. Two of them are united by a new innovation, combination of sand and water in lieu of traditional soil. These are the Sahrawi sandoponic garden in the refugee camps in southwestern Algeria and a Helsinki Sandoponic Garden in Helsinki Biennial 2023. The Helsinki Sandoponic Garden is a project by an artistic research group called PHOSfate formed by Pekka Niskanen and Mohamed Sleiman Labat in 2018. Our PHOSfate garden emphasizes the injustices the Sahrawi population and the Baltic Sea have faced. Becoming a refugee is the utmost injustice that can happen to an individual. Eutrophication is causing a trauma for the Baltic Sea and for the inhabitants living on its shores. Sahrawis are refugees because of phosphate mining, and phosphate fertilizers are the reason for the eutrophication in the Baltic Sea. Coping with the trauma and healing from it is an aspect shared by the community garden in Paris and the Helsinki PHOSfate Garden. The community garden of Jardin Truillot in Paris was created after the Bataclan terrorist attack 2015 to help those living near the theater to heal from trauma. When focusing on the importance of gardens, I will engage with some of the discourses around environmental justice and ecological justice. In my text, I will show that the recognition of injustice is the central activism in these three gardens and in my garden practices.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.1937993","type":"journal-article","created":{"date-parts":[[2023,11,9]],"date-time":"2023-11-09T08:04:38Z","timestamp":1699517078000},"source":"Crossref","is-referenced-by-count":0,"title":["Three gardens as places of performative resistance and resilience"],"prefix":"10.22501","author":[{"family":"Pekka Ilmari Niskanen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:32Z","timestamp":1784286332000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1937993\/2249836"}},"issued":{"date-parts":[[2023,11,9]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1937993","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2023,11,9]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:56Z","timestamp":1784289836133,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2018,8,29]],"date-time":"2018-08-29T00:00:00Z","timestamp":1535500800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,8,29]]},"abstract":"VARIOUS WRITINGS: CHAPTER I There are rumours that writing will cease, books will die, the digital eye will take over. Standing at the edge of this precipice we look away from these preoccupations. Instead we look back, investigating the act of writing through systematic consideration, attempting to disregard all preconceptions. This exposition focuses on the gestural and uses Vil\u00e9m Flusser\u2019s concept of \u2018pseudo writing\u2019, to analyse the interaction between the physical actions and the technologies of writing. The first act of Various Writings\u2019 was a response to Vil\u00e9m Flusser\u2019s text The Gesture of Writing. This text radicalised our ideas on what constitutes research and thematised the conditions of sharing in \u2018other\u2019 terms. Flusser meticulously disassembles the act of writing. We follow in his footsteps, using personal mythologies, Oulipian constraints \/ translations, taxonomies and non-verbal conversations as implements to excavate relics of writing. We collect codes, tools, surfaces; test writing against various technologies and translate it into movements, attitudes and objects.<\/jats:p>\n keywords: writing, flusser, gesture, gestures, pseudo writing, art, oulipo, trialogue<\/jats:p>","DOI":"10.22501\/ruu.364566","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:12Z","timestamp":1538221752000},"source":"Crossref","is-referenced-by-count":0,"title":["Various Writings: Chapter One"],"prefix":"10.22501","author":[{"family":"Dion Star","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Lizzie Ridout","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Maria Christoforidou","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:15:57Z","timestamp":1784286957000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/364566\/364567"}},"issued":{"date-parts":[[2018,8,29]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/ruu.364566","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,8,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:56Z","timestamp":1784289836153,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2018,3,16]],"date-time":"2018-03-16T00:00:00Z","timestamp":1521158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"This co-authored exposition studies three different art exhibitions as complex phenomena by focusing on how exhibitions happen, are in the making. Based on participatory experience, 'Exhibition Intra-Actions' offers insights to the agential capacities of the exhibition space and art \u2018object\u2019 in situations as varied as understanding and experiencing post-internet art, curating a geopolitically sensitive exhibition, and writing a wall text while exhibition is in the making.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.369606","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:30Z","timestamp":1538221770000},"source":"Crossref","is-referenced-by-count":0,"title":["Exhibition Intra-Actions: Experiences, Identities, and Texts in the Making"],"prefix":"10.22501","author":[{"family":"Katve-Kaisa Kontturi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Zuzana \u0160tefkov\u00e1","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Helena Grande Vicente","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:16:12Z","timestamp":1784286972000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/369606\/369607"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.369606","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:51Z","timestamp":1784286231279,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"20","license":[{"start":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T00:00:00Z","timestamp":1594857600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2020,7,16]]},"abstract":"In this exposition, I analyse the making of The Missing Page, a short film I shot in 2016 (and completed much later, in 2018) in response to the disappearance of my mother, Dorothy, from her home for over twelve hours; she was later diagnosed with dementia. This exposition reflects on the key stages of the project: establishes the aims of the film and its inspirations; the nature of the exploratory research, which took place on location at my parent\u2019s home; and the conclusions I drew. I also review my working methods and discuss influences such as slow cinema and defamiliarization, identifying the importance of narrative, ethnographic methods, sound design, the notion of \u2018space\u2019, \u2018place\u2019, and palimpsest in shaping my thoughts, and the progress of the making of the film.<\/jats:p>\n keywords: ethnography, Palimpsest, defamiliarization, sound, Slow cinema<\/jats:p>","DOI":"10.22501\/jar.655507","type":"journal-article","created":{"date-parts":[[2020,7,16]],"date-time":"2020-07-16T11:46:13Z","timestamp":1594899973000},"source":"Crossref","is-referenced-by-count":1,"title":["The Missing Page: Place as Palimpsest and \u2018Foil\u2019"],"prefix":"10.22501","author":[{"family":"Jeremy Bubb","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:09Z","timestamp":1784282889000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/655507\/938178"}},"issued":{"date-parts":[[2020,7,16]]},"references-count":0,"journal-issue":{"issue":"20"},"URL":"https:\/\/doi.org\/10.22501\/jar.655507","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2020,7,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:01Z","timestamp":1784286301902,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T00:00:00Z","timestamp":1779753600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,5,26]]},"abstract":"This exposition explores selected piano works by Isaac Alb\u00e9niz through the perspective of guitar transcription, combining stylistic analysis with practical arrangement. The first part outlines the main characteristics of Alb\u00e9niz\u2019s compositional style, including modal harmony, rhythmic vitality, Spanish national idioms, elements of Andalusian tradition and cante jondo, as well as traces of French impressionism in music. Understanding these stylistic features provides an essential foundation for approaching his music on the guitar.The second part offers a historical overview of guitar transcriptions of Alb\u00e9niz\u2019s works, situating them within the broader tradition of adapting piano repertoire for the instrument. Existing arrangements for solo guitar and guitar trio are examined and analytically discussed, with particular attention to texture, register, rhythm, articulation, and the treatment of idiomatic guitar techniques. The study evaluates different transcription strategies and their musical effectiveness.The final part presents the author\u2019s own transcriptions for guitar trio and duo. These arrangements aim to balance fidelity to the original piano scores with idiomatic writing for the guitar. The exposition includes notated musical examples, comparative score excerpts, and audio recordings of both the original piano performances and the newly created guitar versions. Through analytical commentary and practical demonstration, the study seeks to contribute to a deeper understanding of Alb\u00e9niz\u2019s music and its creative transformation within the guitar repertoire.<\/jats:p>\n keywords: classical guitar, cante jondo, guitar transcriptions, guitar duo, guitar trio, Spanish music, Classical guitar, Isaac Alb\u00e9niz<\/jats:p>","DOI":"10.22501\/koncon.3316767","type":"journal-article","created":{"date-parts":[[2026,5,26]],"date-time":"2026-05-26T13:07:32Z","timestamp":1779800852000},"source":"Crossref","is-referenced-by-count":0,"title":["Isaac Alb\u00e9niz and the guitar: transcription practices from piano to guitar repertoire"],"prefix":"10.22501","author":[{"family":"Filip Mi\u0161kovi\u0107","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:21:17Z","timestamp":1784283677000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3316767\/3316768"}},"issued":{"date-parts":[[2026,5,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3316767","published":{"date-parts":[[2026,5,26]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:16Z","timestamp":1784290036449,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"02","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Auditory display is concerned with the use of non-speech sound to communicate information. If the term seems at first oxymoronic, then consider auditory display as an activity of perceptualization, that is, the process of making perceptible to humans aspects or features of a given data set or system. Most commonly this is done using visual representations (which process we call visualization) but it is not limited to the visual channel, and recent years have witnessed the increased use of auditory representations in the production of tools for exploring data. By way of semiotics and an aesthetic perspective shift, this article posits that auditory display may be considered a form of organized sound and explores the listening experience in this context.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.263480","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:26:07Z","timestamp":1733131567000},"source":"Crossref","is-referenced-by-count":0,"title":["Ways of Listening and Modes of Being: Electroacoustic Auditory Display"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-0963-5005","authenticated-orcid":false,"family":"Paul Vickers","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:44:21Z","timestamp":1784288661000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/263480\/263481"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"02"},"URL":"https:\/\/doi.org\/10.22501\/jss.263480","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,8,24]],"date-time":"2026-08-24T15:22:44Z","timestamp":1787584964691,"version":"build-2736575974"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,8,24]],"date-time":"2026-08-24T00:00:00Z","timestamp":1787529600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,8,24]]},"abstract":"This research investigates how the harmonic and melodic principles of polymodality in jazz can be translated into a structured didactical framework to support the development of theoretical, aural, and practical understanding through jazz solfeggio and theory.While polymodality, as found in the music of McCoy Tyner, John Coltrane, and Woody Shaw, remains an influential yet insufficiently systematised concept among emerging jazz musicians, existing pedagogical approaches are often fragmented and limited. Through transcription analysis, literature review, and interviews with jazz musicians and educators, the study identifies key elements that shape polymodal harmonic and melodic practice, particularly in relation to modal characteristics and pentatonic structures.Building on these findings, the research proposes a didactic model based on two conceptual tools developed by the author: characteristic superimpositions and pentatonic superimpositions. These concepts form a systematic framework for understanding polymodal colour, intermodal relationships, and the interaction between quartal harmonic and melodic structures. The model is supported by graded exercises, including hybrid scales, intervallic patterns, and mode-specific melodic exercises for sight-singing.By translating established musical practices into clearly defined concepts and exercises, the study aims to bridge the gap between intuitive performance-based knowledge and systematic learning. This approach offers a practical model for developing polymodal awareness and contributes a new perspective to jazz pedagogy.Biography:Sandi \u0160tor is a Slovenian jazz trumpeter, big band conductor, jazz composer, arranger, and jazz educator. He graduated from the Prins Claus Conservatory (Hanze University of Applied Sciences, Groningen), where he studied with Alex Sipiagin, Don Braden, Michael Mossman, Piotr Wojtasik, Robin Eubanks, and George Garzone, and is currently completing his master\u2019s degree at the Royal Conservatory in The Hague. He is active as a big band arranger and conductor, the author of the 4 Jazz Solfeggio textbook series. As a performer, he has appeared at international festivals across Europe and Asia as a jazz trumpeter and choral singer.<\/jats:p>\n keywords: jazz theory, JAZZ SOLFEGE, POLYMODALITY, QUARTAL HARMONY, MCCOY TYNER, Woody Shaw, A LOVE SUPREME, pentatonic, modal jazz, Jazz Studies, jazz improvisation, modal improvisation, Music Education, Jazz Education, Jazz Pedagogy, Jazz Didactics, sight-singing, solfeggio, Kod\u00e1ly Concept, musical literacy, musicianship skills, Modal improvisation, John Coltrane, Ear Training<\/jats:p>","DOI":"10.22501\/koncon.3319365","type":"journal-article","created":{"date-parts":[[2026,8,21]],"date-time":"2026-08-21T06:20:37Z","timestamp":1787293237000},"source":"Crossref","is-referenced-by-count":0,"title":["Architectures of Modal Landscapes"],"prefix":"10.22501","author":[{"family":"Sandi \u0160tor","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,8,24]],"date-time":"2026-08-24T14:25:46Z","timestamp":1787581546000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3319365\/4338556"}},"issued":{"date-parts":[[2026,8,24]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3319365","published":{"date-parts":[[2026,8,24]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:56Z","timestamp":1784289836583,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"9","license":[{"start":{"date-parts":[[2018,3,16]],"date-time":"2018-03-16T00:00:00Z","timestamp":1521158400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,3,16]]},"abstract":"The exposition is a visual-textual essay in which I explore Karen Barad\u2019s agential realism in conversation with my installation \u201c\u201dUntitled 1-3\u201d consisting of three interactive artifacts: knitted dress-like objects, responding to touch. An installation is understood here as an ongoing process of materialization which assumes different instantiations over time. I will approach these in dialogue with Barad\u2019s concept of the \u201cagential cut\u201d, inquiring into three \u201ccuts\u201d in which the installation is enacted in three different configurations.<\/jats:p>\n keywords: interactive installation, materialization, agency, agential cut, intra-action, performativity, New Materialism<\/jats:p>","DOI":"10.22501\/ruu.371984","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:49:52Z","timestamp":1538221792000},"source":"Crossref","is-referenced-by-count":0,"title":["Enacting Agential Cuts - Notes on the Untitled 1-3 (2014)"],"prefix":"10.22501","author":[{"family":"Heidi Tikka","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:16:54Z","timestamp":1784287014000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/371984\/386688"}},"issued":{"date-parts":[[2018,3,16]]},"references-count":0,"journal-issue":{"issue":"9"},"URL":"https:\/\/doi.org\/10.22501\/ruu.371984","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,3,16]]}},{"indexed":{"date-parts":[[2025,11,24]],"date-time":"2025-11-24T16:20:05Z","timestamp":1764001205469,"version":"3.45.0"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/ffa","type":"journal","created":{"date-parts":[[2025,11,24]],"date-time":"2025-11-24T16:15:54Z","timestamp":1764000954000},"source":"Crossref","is-referenced-by-count":0,"title":["FFA BUT \u2013 Faculty of Fine Arts, Brno University of Technology"],"prefix":"10.22501","member":"9794","deposited":{"date-parts":[[2025,11,24]],"date-time":"2025-11-24T16:15:54Z","timestamp":1764000954000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/portal.favu.vut.cz\/"}},"short-title":["ffa"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/ffa"},{"indexed":{"date-parts":[[2025,10,23]],"date-time":"2025-10-23T14:07:46Z","timestamp":1761228466722,"version":"build-2065373602"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0084","type":"journal-article","created":{"date-parts":[[2025,10,23]],"date-time":"2025-10-23T13:53:42Z","timestamp":1761227622000},"source":"Crossref","is-referenced-by-count":0,"title":["Review of Falk H\u00fcbner, \"Method, Methodology and Research Design in Artistic Research\""],"prefix":"10.22501","author":[{"given":"Jen","family":"Clarke","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2025,10,23]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,10,23]],"date-time":"2025-10-23T13:53:42Z","timestamp":1761227622000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/review-falk-hubner-method-methodology-and-research-design-artistic-research"}},"issued":{"date-parts":[[2025,10,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0084","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2025,10,23]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:45Z","timestamp":1784282985709,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"33","license":[{"start":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T00:00:00Z","timestamp":1730851200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2024,11,6]]},"abstract":"Throughout the history of China, from early dynasties into contemporary times, aspects of poetry, painting, and writing have been grounded in varied but deeply connected \u2018rules of rhythm\u2019. These \u2018rules\u2019 permeate in diverse yet identifiable and recognizable forms. The research in this project is aimed at both adopting and adapting these rules of rhythm or rhythmic patterns in an experimental form that reimagines a tradition of \u2018lyric aesthetics\u2019 in the context of the contemporary interplay between sound, image, and writing. In this sense, the investigation is at once one of \u2018reclamation\u2019 and extension. The basic \u2018question\u2019 in these experiments is whether it is possible to represent sonic patterns themselves \u2014 that is, by both visualizing sound structures and \u2018sonifying\u2019 visual forms (irrespective of textual content). The text focuses on the historical establishment of methodological approaches (as a way to identify their forms) and then transforming\/translating these in combinations made possible by blending the sonic and visual. As a particular attribute of Chinese expression, these \u2018rules\u2019 or forms are cultural traits that have endured through many centuries and challenges and, more importantly in this case, can be (re)iterated in dynamic, fluid, and revitalized contemporary artistic configurations that aim at seeing sound, writing sound, and performing rhythm.<style>\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"download-media?work=3155507&file=3155517\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: Sonic-Visual, Chinese art, Chinese aesthetics, Rules of rhythm, multimedia, sound art, Sound space, acoustic, rhythm<\/jats:p>","DOI":"10.22501\/jar.1900487","type":"journal-article","created":{"date-parts":[[2024,11,6]],"date-time":"2024-11-06T02:39:36Z","timestamp":1730860776000},"source":"Crossref","is-referenced-by-count":0,"title":["Hearing Rhythm, Seeing Rhythm: A Research Approach to Reimagining Traditions of Chinese Poetic \u2018rules of rhythm\u2019"],"prefix":"10.22501","author":[{"family":"Ling Liu","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:58Z","timestamp":1784282338000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1900487\/3063482"}},"issued":{"date-parts":[[2024,11,6]]},"references-count":0,"journal-issue":{"issue":"33"},"URL":"https:\/\/doi.org\/10.22501\/jar.1900487","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2024,11,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:45Z","timestamp":1784283045106,"version":"3.55.0"},"posted":{"date-parts":[[2016,1,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2016,1,8]],"date-time":"2016-01-08T00:00:00Z","timestamp":1452211200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"this is simply some test<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.241500","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:53:32Z","timestamp":1498053212000},"source":"Crossref","is-referenced-by-count":0,"title":["some test exp"],"prefix":"10.22501","author":[{"family":"Test Author 3","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:58Z","timestamp":1784282458000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/241500\/241501"}},"issued":{"date-parts":[[2016,1,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.241500","published":{"date-parts":[[2016,1,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:51Z","timestamp":1784286411970,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2021,11,9]],"date-time":"2021-11-09T00:00:00Z","timestamp":1636416000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2021,11,9]]},"abstract":"After the second world war, the musical performance style remains changing from intensely expressive into clean and litteral. The exaggeration of expression through tempo, rhythm, portamento, ornamentation were suddenly gone and became utterly unrealistic and old-fashion. The cleanliness of the performance style brought singers to put more focus only to the score and text. Realizing how much the gap between two different styles, I have only partially understood the half picture of the style. My thesis will focus on the re-enactment study of Lotte Lehmann's recording in 1930s of An die Musik by Schubert and Ich grolle nicht by Schumann.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/koncon.969662","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:39:25Z","timestamp":1725907165000},"source":"Crossref","is-referenced-by-count":0,"title":["Exploring Expressive Lied Performance: Re-enacting Lotte Lehmann\u2019s Pre-World War II Lied Performances"],"prefix":"10.22501","author":[{"family":"Marlina Deasy Hartanto","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:37:43Z","timestamp":1784284663000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/969662\/1183012"}},"issued":{"date-parts":[[2021,11,9]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.969662","published":{"date-parts":[[2021,11,9]]}},{"indexed":{"date-parts":[[2026,9,30]],"date-time":"2026-09-30T22:04:07Z","timestamp":1790805847505,"version":"4.1.0"},"posted":{"date-parts":[[2026,9,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,9,30]],"date-time":"2026-09-30T00:00:00Z","timestamp":1790726400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"V t\u00e9to um\u011bleckov\u00fdzkumn\u00e9 diserta\u010dn\u00ed expozici zkoum\u00e1m, jak zprost\u0159edkovat materialitu tapis\u00e9ri\u00ed filmem a jak se recipro\u010dn\u011b prom\u011b\u0148uje film, vstoup\u00ed-li do n\u011bj tapis\u00e9rie jako materi\u00e1l i proces tkan\u00ed. \u010cerp\u00e1m z nat\u00e1\u010den\u00ed v Moravsk\u00e9 gobel\u00ednov\u00e9 manufaktu\u0159e ve Vala\u0161sk\u00e9m Mezi\u0159\u00ed\u010d\u00ed a z digit\u00e1ln\u00ed i analogov\u00e9 postprodukce nato\u010den\u00e9ho \u010di ru\u010dn\u011b vytvo\u0159en\u00e9ho materi\u00e1lu. Skrze tv\u016fr\u010d\u00ed dialog s filmovou technikou a filmov\u00fdm materi\u00e1lem hled\u00e1m mo\u017enosti, jak zp\u0159\u00edtomnit subjektivn\u00ed vn\u00edm\u00e1n\u00ed plasti\u010dnosti a taktility textilu. Vztah osnovy a \u00fatku se propisuje do kamerov\u00e9 kompozice, p\u0159\u00edze a pigmenty p\u0159\u00edmo spoluvytv\u00e1\u0159ej\u00ed obraz a ru\u010dn\u00ed pro\u0161\u00edv\u00e1n\u00ed 16mm p\u00e1su prom\u011b\u0148uje m\u00e9 porozum\u011bn\u00ed \u010dasu kamerou observovan\u00e9ho \u0159emesla. Podstatn\u00fdm hlediskem v\u00fdzkumu je intermedi\u00e1ln\u00ed prom\u011bna: sleduji, jak film p\u0159etv\u00e1\u0159\u00ed specifick\u00fd prostor tapis\u00e9rie pota\u017emo manufaktury a jak se v prom\u011bn\u011b maleb \u010di grafik v tapis\u00e9rie uplat\u0148uj\u00ed autorsk\u00e1 interpretace i materi\u00e1lov\u00e9 p\u0159edpoklady m\u00e9dia. V n\u00e1vaznosti na expanded cinema a experiment\u00e1ln\u00ed medi\u00e1ln\u00ed archeologii expozici komponuji jako s\u00ed\u0165ov\u00e9 hyperm\u00e9dium a prostor pozn\u00e1v\u00e1n\u00ed, do n\u011bj\u017e n\u00e1v\u0161t\u011bvn\u00edka zvu, aby jeho souvislosti vlastn\u00edm proch\u00e1zen\u00edm objevoval i spoluvytv\u00e1\u0159el.<\/jats:p>\n keywords: materialita, intermedialita, tapis\u00e9rie, digit\u00e1ln\u00ed obraz, experiment\u00e1ln\u00ed film, 16mm, hand-made film, medi\u00e1ln\u00ed archeologie, expanded cinema, expanded documentary, \u0159emeslo, digit\u00e1ln\u00ed \u0159emeslo, AI, \u010das, materiality, intermediality, tapestry, digital image, experimental film, media archeology, craft, digital craft, artificial intelligence, um\u011bleck\u00fd v\u00fdzkum, artistic research<\/jats:p>","DOI":"10.22501\/rc.3199271","type":"posted-content","created":{"date-parts":[[2026,9,30]],"date-time":"2026-09-30T21:52:01Z","timestamp":1790805121000},"source":"Crossref","is-referenced-by-count":0,"title":["Ruce v obraze: materialita tapis\u00e9ri\u00ed v expanded dokument\u00e1rn\u00edm filmu o gobel\u00ednov\u00e9 manufaktu\u0159e"],"prefix":"10.22501","author":[{"family":"Petr Vasku","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,9,30]],"date-time":"2026-09-30T21:52:01Z","timestamp":1790805121000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3199271\/3199272"}},"issued":{"date-parts":[[2026,9,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3199271","published":{"date-parts":[[2026,9,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2024,9,10]],"date-time":"2024-09-10T00:12:08Z","timestamp":1725927128278},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,7,13]]},"abstract":"My experience teaching mandatory violin lessons during school time could have been more positive. Misbehavior, no engagement, no routine of practicing, and a deficient level of playing were some of the factors causing frustration in my teaching practice. Luckily, this frustration became an urge to change this situation and search for approaches to motivate the students in the context of mandatory music lessons. Action research and case study approaches were used for an intervention of three weeks in three different classrooms, with kids from 8-9 years old, from grade 5 at the Dutch Primary School system. Lesson plans were designed based on the principles of the Self-Determination Theory by Deci and Ryan (1985), with activities and strategies addressing the three innate psychological needs: competence, autonomy, and relatedness. Logbooks were also used as a way of stimulating the self-regulation of the students. The intervention showed that encouraging the students' autonomy was the best way to motivate them, and that can be done through simple activities that can be easily implemented in the lessons. Increasing their autonomy in several activities also added to their feeling of competence and relatedness. Using the logbook to track their practice was also a powerful tool to help them practice and boost their motivation.<\/jats:p>","DOI":"10.22501\/rc.2161575","type":"journal-article","created":{"date-parts":[[2023,5,25]],"date-time":"2023-05-25T03:22:09Z","timestamp":1684984929000},"source":"Crossref","is-referenced-by-count":0,"title":["\u201cHow to motivate students in classroom mandatory music lessons?\u201d"],"prefix":"10.22501","author":[{"family":"B\u00e1rbara de Souza","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T22:36:41Z","timestamp":1725921401000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2161575\/2161801"}},"issued":{"date-parts":[[2023,7,13]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/rc.2161575","published":{"date-parts":[[2023,7,13]]}},{"indexed":{"date-parts":[[2022,4,4]],"date-time":"2022-04-04T04:44:15Z","timestamp":1649047455697},"posted":{"date-parts":[[2012,2,8]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.17746","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:55:50Z","timestamp":1498053350000},"source":"Crossref","is-referenced-by-count":0,"title":["RADICAL TRANSPARENCY AND ECO-INTELLIGENCE IN CONTEMPORARY PERFORMANCE ART"],"prefix":"10.22501","author":[{"family":"Andrea Pagnes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2017,7,11]],"date-time":"2017-07-11T16:16:22Z","timestamp":1499789782000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/17746\/17747"}},"issued":{"date-parts":[[2012,2,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.17746","published":{"date-parts":[[2012,2,8]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2024,5,14]],"date-time":"2024-05-14T00:24:22Z","timestamp":1715646262793},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/envelope","type":"journal","created":{"date-parts":[[2023,5,23]],"date-time":"2023-05-23T10:36:38Z","timestamp":1684838198000},"source":"Crossref","is-referenced-by-count":0,"title":["envelope"],"prefix":"10.22501","member":"9794","language":"en","deposited":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T11:33:02Z","timestamp":1715599982000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1851127\/1851128"}},"short-title":["envelope"],"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/envelope"},{"indexed":{"date-parts":[[2024,6,8]],"date-time":"2024-06-08T00:27:39Z","timestamp":1717806459359},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2024,6,7]]},"DOI":"10.22501\/hub.2356589","type":"journal-article","created":{"date-parts":[[2024,3,6]],"date-time":"2024-03-06T14:43:09Z","timestamp":1709736189000},"source":"Crossref","is-referenced-by-count":0,"title":["Cripping Virtuosity: Cultivating Virtuosity from Disability through Music Technology"],"prefix":"10.22501","author":[{"family":"Molly Joyce","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2024,6,7]],"date-time":"2024-06-07T17:18:50Z","timestamp":1717780730000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2356589\/2356588"}},"issued":{"date-parts":[[2024,6,7]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/hub.2356589","published":{"date-parts":[[2024,6,7]]}},{"indexed":{"date-parts":[[2022,4,3]],"date-time":"2022-04-03T10:21:19Z","timestamp":1648981279044},"posted":{"date-parts":[[2020,12,7]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.1080010","type":"posted-content","created":{"date-parts":[[2020,12,7]],"date-time":"2020-12-07T19:33:21Z","timestamp":1607369601000},"source":"Crossref","is-referenced-by-count":0,"title":["test1"],"prefix":"10.22501","author":[{"family":"vtrunec_user","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2020,12,7]],"date-time":"2020-12-07T19:33:21Z","timestamp":1607369601000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1080010\/1080011"}},"issued":{"date-parts":[[2020,12,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1080010","published":{"date-parts":[[2020,12,7]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,8,31]],"date-time":"2026-08-31T13:22:37Z","timestamp":1788182557921,"version":"build-2803163510"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,9,26]],"date-time":"2023-09-26T00:00:00Z","timestamp":1695686400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,9,26]]},"abstract":"(this research was submitted March 2019)How can late-18th- and early-19th-century vocal techniques influence our way of experimenting with portamento use in Schubert\u2019s violin music and how can we reinstate the practice in ways that are relevant for current listeners and players?The voice and violin have always shared an intimate connection. Violin treatises from the late-18th and early-19th centuries consistently encourage violinists to imitate vocal techniques. My thesis explores this relationship via the music of Franz Schubert (1797-1828), who revolutionised Lieder and used vocal techniques in his instrumental writing. Many fundamental vocal expressive devices, including portamento, have been lost in \u201cmodern\u201d and \u201chistorically-informed\u201d (HIP) singing and violin playing. My thesis aims to (1) understand the historical appropriateness of portamento in Schubert\u2019s violin music and how different types of portamento work, (2) examine why the technique was lost, and (3) explore ways of reigniting it in today's musical aesthetic. I first analysed relevant written sources and early vocal and violin recordings, finding clear evidence of frequent and varied vocal and violin portamento use, clear links in portamento use between early-recorded singing and violin playing, and consistency between early-recorded portamenti and written sources from Schubert\u2019s time. To understand why portamento was lost, I examined the wider phenomenon of style change in the 20th century and found that both recording technology and general 20th-century aesthetic changes encouraged \u201ccleanness\u201d and \u201crepeatability\u201d in music, thereby eradicating spontaneous and unique expressive devices like portamento. Finally, I researched innate emotional responses to music and portamento\u2019s importance as an engaging communicative tool, and undertook my own artistic experimentation in early-19th-century music, collaborating with and surveying leading vocal and string 19th-century HIP practitioners to explore ways of making portamento expressive and relevant to modern musical practice and appreciation.<\/jats:p>\n keywords: early music, voice, violin, 19th century, portamento, the singing violin, franz schubert, historically informed performance<\/jats:p>","DOI":"10.22501\/koncon.561381","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:25Z","timestamp":1725906985000},"source":"Crossref","is-referenced-by-count":0,"title":["The Singing Violin: Portamento use in Franz Schubert\u2019s violin music"],"prefix":"10.22501","author":[{"family":"Emma WIlliams","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,8,31]],"date-time":"2026-08-31T13:09:40Z","timestamp":1788181780000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/561381\/563632"}},"issued":{"date-parts":[[2023,9,26]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.561381","published":{"date-parts":[[2023,9,26]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:27Z","timestamp":1784369067259,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2024,10,30]],"date-time":"2024-10-30T00:00:00Z","timestamp":1730246400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["rmc"],"published-print":{"date-parts":[[2024,10,30]]},"abstract":"DK abstract: (scroll down for UK abstract)Projektet \u201cGenklangen fra den v\u00e6ltede fjerde v\u00e6g\u201d fors\u00f8ger at bygge broer mellem kunstmusikken og f\u00e6llesskabet, her repr\u00e6senteret ved den danske sangbog \u2018H\u00f8jskolesangbogen\u2019. I et hybridt koncertformat, skabt til projektet, hvor en intens, abstraheret tilgang til det musikalske materiale er gennemg\u00e5ende, opst\u00e5r i l\u00f8bet af koncerterne adskillige passager med f\u00e6llessang, hvor publikum synger med p\u00e5 sange de kender. Projektet har blandt andet unders\u00f8gt hvordan vi kunne skabe et musikalske milj\u00f8, der kan bygge bro over de forskellige positioner (kunstmusik og f\u00e6llessang), hvordan ideer om lytterens\/tilskuerens roller kan genforhandles indenfor forskellige kunstdom\u00e6ner, og hvordan projektet fra et genre-teoretisk perspektiv kan opfattes som et m\u00f8de mellem bekr\u00e6ftende og destabiliserende kr\u00e6fter. Det, der bliver gent\u00e6nkt i projektet, er ikke s\u00e5 meget selve fortiden og heller ikke n\u00f8dvendigvis etablerede fort\u00e6llinger om fortiden, men snarere mulige samtidige og fremtidige fort\u00e6llinger om, hvordan vi kan genfortolke sange fra fortiden \u2013 sammen. Og det der opdages, er ikke s\u00e5 meget skjulte perspektiver i fortiden, men derimod skjulte potentialer i, hvordan en majoritetskulturel \u2019assemblage\u2019 som H\u00f8jskolesangbogen kan genforhandles. Samtidig nedbrydes barrierer mellem ud\u00f8vende og lytter, og der etablere nye m\u00e5der at opleve ny musik p\u00e5. Og vi mindes om, at vi aldrig ved, hvordan vores kulturelle fortid bliver fortolket i morgen.UK abstract: The project \u201cEchoes from the torn down fourth wall\u201d aims to build bridges between contemporary-music-as-an-art-form and community singing within songs from the Danish songbook \u2018H\u00f8jskolesangbogen\u2019. In a hybrid concert format created for the project, within the context of an abstracted approach to intense, improvised concert music, several passages with community singing occur, where the audience sings along in songs they know. The research process has investigated how to create a musical environment that might bridge the different positions (art music and community singing), how the idea of the listener\/spectator can be negotiated within different art domains and how, from a genre perspective, the project can be narrated as a meeting between confirming and destabilising forces. What is being reimagined in the project is not so much the past itself, and not necessarily established narratives about the past, but rather possible current and future narratives of how we may reinterpret songs from the past \u2013 together. What is being revealed is not so much specific perspectives in the past but rather hidden potentials in how a majority cultural assemblage like H\u00f8jskolesangbogen may be renegotiated.<\/jats:p>\n keywords: f\u00e6llesskab, community, f\u00e6llessang, singing, community singing, art music, music, improvisation, outreach, genre, listening, participation, deltagelse, kunstmusik, musik, embodied cognition, kropsliggjort erkendelse, tilskuerroller, engagement, reception, Repetition and difference, destabilisation, folklore, national identity<\/jats:p>","DOI":"10.22501\/rmc.2378578","type":"journal-article","created":{"date-parts":[[2025,1,22]],"date-time":"2025-01-22T05:43:00Z","timestamp":1737524580000},"source":"Crossref","is-referenced-by-count":0,"title":["Genklangen fra den v\u00e6ltede fjerde v\u00e6g - DK version"],"prefix":"10.22501","author":[{"family":"Jacob Anderskov","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Rhythmic Music Conservatory"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:18:15Z","timestamp":1784366295000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2378578\/2710188"}},"issued":{"date-parts":[[2024,10,30]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/rmc.2378578","published":{"date-parts":[[2024,10,30]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:53Z","timestamp":1784286533372,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2014,8,7]],"date-time":"2014-08-07T00:00:00Z","timestamp":1407369600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,8,7]]},"abstract":"Name: Suzanne KoningsMain subject: Master of Music TheoryResearch coach: L\u00e1zsl\u00f3 Nemes Title of research: What's in a name? The relation between pitch notation, note names and sight singing in different forms of pitch notation and in different ways of approaching pitch notationResearch questions:Are absolute note names necessary in sight singing, when reading pitch notation on the stave relatively? Mental process: one sees \u2018do\u2019 (a name that indicates a function) and thinks \u2018F\u2019 (indicating a pitch).Are relative note names necessary in sight singing, when reading pitch notation on the stave \u2018absolute\u2019? Mental process: one sees \u2018F\u2019 (a name that indicates a pitch) and thinks \u2018do\u2019 (indicating a function).Abstract:Sight singing is a part of almost every music theory curriculum in conservatoires. But one might ask oneself why lessons in sight singing are needed for students who can already read music notation? The answer usually is: to develop the aural imagination in relation to music notation. The way students have learned to read music notation in the first place did not develop this skill well enough then?Experiences in teaching made me think that we need functional note names (unique sound names) to be able to aurally understand pitch in staff notation, and that the absolute note names (unique pitch names) may be an instrumentally useful, but less effective step \u2018in between\u2019 in aural imagination. From existing literature and recorded tests with students performing special designed scores I hoped to learn more about connecting the inner hearing world to music notation in the most effective way.BiographySuzanne Konings studied music theory and musicology and has been the head of the music theory department in the Royal Conservatoire The Hague since 2004. From 2009 she has been specialising in teaching music according to the Kod\u00e1ly concept. Together with colleagues in and outside the conservatoire she is organising training programmes for teachers and musicians in elementary schools, music schools and higher music education. She teaches musicianship classes for students in the Royal Conservatoire and the National Youth Choir of the Netherlands.<\/jats:p>\n keywords: teaching, sight singing, absolute pitch, relative pitch, music theory, Research by teachers of the Royal Conservatoire<\/jats:p>","DOI":"10.22501\/koncon.63971","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:50:07Z","timestamp":1725907807000},"source":"Crossref","is-referenced-by-count":0,"title":["To understand staff notation aurally"],"prefix":"10.22501","author":[{"family":"Suzanne Konings","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:59:42Z","timestamp":1784285982000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/63971\/85539"}},"issued":{"date-parts":[[2014,8,7]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/koncon.63971","published":{"date-parts":[[2014,8,7]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:48Z","timestamp":1784286348915,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,6,2]],"date-time":"2023-06-02T00:00:00Z","timestamp":1685664000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,6,2]]},"abstract":"This paper is focused on the development of a large-scale personal compositional practice centered around the concept of placemaking. Its content is focused on the relationship between data analysis, data sonification, and musical structure in the development of art which engages in a practice which I refer to as \u2018sonic placemaking.\u2019 In the end, this research intends to put this artistic practice in a space to interrogate the relationship between art and social change, both on small and large scales. The different sections of the paper will provide context and support for my practice's conceptual and philosophical background, drawing on related theoretical writings in geography, sociology, fine art, and composition while guiding the reader through my process in executing these concepts through works of multimedia art and acoustic composition \u2014 and, at the same time, actively questioning the ability of this process to influence social change and worldmaking.<\/jats:p>\n keywords: placemaking, structure<\/jats:p>","DOI":"10.22501\/koncon.2059077","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:36:59Z","timestamp":1725907019000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonic Placemaking: (Re)Creating Place as a Comprehensive Compositional Practice"],"prefix":"10.22501","author":[{"family":"Isaac Barzso","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:30:58Z","timestamp":1784284258000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2059077\/2060308"}},"issued":{"date-parts":[[2023,6,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2059077","published":{"date-parts":[[2023,6,2]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:08Z","timestamp":1784289788896,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"19","license":[{"start":{"date-parts":[[2022,10,25]],"date-time":"2022-10-25T00:00:00Z","timestamp":1666656000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2022,10,25]]},"abstract":"The article describes, with a self-ethnographic position, the limit and potentiality of an \"art of subjectivity\" carried out by an a-modal \"stranger\" thrown into a foreigner country with abstract rationalist features that obstacle the immanent becoming(s) and repress the excess of a practice of interventions that is necessary to shape an uncoded \"ethico-aesthetic territory\". In this context of extinction the writer of the article, who is also the protagonist of the described art practice, presents the necessity of a new clandestine media for his art research publishing. After a brief outline of a Deleuzian theory of the media, he reveals and presents his project that consists of a \"graphic novel clandestine journal\". This \"graphic novel style form\" suits well to his practice of disruptive interventions in public space and the character-avatar \"Anartist\", which is the mask performed by the writer in its critical urban interventions. The \"author\" writes that our hyper-capitalist reality is already a form of dystopian graphic novel. For this reason the portrait of his action as a \"graphic novel\" is a form of realism and an aesthetic strategy to deal with it.<\/jats:p>\n keywords: medium, graphic novel, journal, intervention<\/jats:p>","DOI":"10.22501\/ruu.1400930","type":"journal-article","created":{"date-parts":[[2022,10,25]],"date-time":"2022-10-25T09:24:44Z","timestamp":1666689884000},"source":"Crossref","is-referenced-by-count":0,"title":["GRAPHIC NOVEL CLANDESTINE JOURNAL"],"prefix":"10.22501","author":[{"family":"ANARTIST","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:26Z","timestamp":1784286386000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1400930\/1400931"}},"issued":{"date-parts":[[2022,10,25]]},"references-count":0,"journal-issue":{"issue":"19"},"URL":"https:\/\/doi.org\/10.22501\/ruu.1400930","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2022,10,25]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:14Z","timestamp":1784289794123,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"17","license":[{"start":{"date-parts":[[2021,11,29]],"date-time":"2021-11-29T00:00:00Z","timestamp":1638144000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2021,11,29]]},"abstract":"Elisenvaara-Pieks\u00e4m\u00e4ki \u2013hajonnut kone on taiteellinen tutkimus irtikytkenn\u00e4n tilallisuudesta, jonka tapaustutkimuksena on er\u00e4s syrj\u00e4\u00e4n j\u00e4\u00e4nyt rautatien raunio.Kun rautatien koneellinen kooste kerran hajosi, muodostui kokemuksesta irti kytketty alue, katve, jossa viitteet hajonneeseen koneeseen asettuvat kokemuksen taustalle, kuin aaveraaja, joka s\u00e4teilee paikantumattomia tuntemuksia menetetyst\u00e4 raajasta. T\u00e4ss\u00e4 kokeellisessa tutkimuksessa kehitetyt harjoitteet ovat yrityksi\u00e4 vastata ongelmaan: kuinka katveeseen j\u00e4\u00e4neiden rautatien raunioiden aistinen ulottuvuus voidaan kytke\u00e4 uudelleen, uudeksi yhteiseksi tilaksi. Asetan Gilles Deleuzen elokuvaa luonnehtivan liike-kuvan k\u00e4sitteen junamatkustamisen kokemuksen ilmaisulliseksi vastineeksi. Toisissa tiloissa kollektiivin j\u00e4senten: Kati Korosuon ja Timo Jokitalon kanssa toteutetussa esityksess\u00e4: Elokuva ilman kameraa (2019) resiina valjastettiin alustaksi radan varren asukkaita osallistaville harjoitteille. N\u00e4iss\u00e4 harjoitteissa elokuvan k\u00e4site laajenee ilmaisemaan irti kytketyn rautatien aistista tilaa. Teemana irtikytkent\u00e4 muodostaa taiteelliselle tutkimukselle utopistisen perustan, l\u00e4ht\u00f6kohdan, joka ei sijaitse miss\u00e4\u00e4n. \u00d6isell\u00e4 resiina matkalla l\u00e4pi takapajuisen seudun paikattomuuteen rakentui hetkellisesti uusi yhteinen tila. Digitaalista valokuvista, videoista ja kirjoituksesta koostuva ekspositio on koottu luettavaksi tietokoneen ruudulta.<\/jats:p>\n keywords: deterritorializations, Peripheral Spaces and Voices, expanded cinema, live art, experimentation, experimental film, performance; re-enactment; landspace; site; environment;, performance, Deleuze<\/jats:p>","DOI":"10.22501\/ruu.685472","type":"journal-article","created":{"date-parts":[[2021,11,29]],"date-time":"2021-11-29T07:44:49Z","timestamp":1638171889000},"source":"Crossref","is-referenced-by-count":0,"title":["Elisenvaara-Pieks\u00e4m\u00e4ki - hajonnut kone"],"prefix":"10.22501","author":[{"family":"Jaakko Ruuska","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:29Z","timestamp":1784286449000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/685472\/685473"}},"issued":{"date-parts":[[2021,11,29]]},"references-count":0,"journal-issue":{"issue":"17"},"URL":"https:\/\/doi.org\/10.22501\/ruu.685472","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2021,11,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:39Z","timestamp":1784286519672,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"25","license":[{"start":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T00:00:00Z","timestamp":1777420800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2026,4,29]]},"abstract":"This exposition explores whether we could consider pine trees as citizens of sorts. It is based on three conversations with a pine tree in Helsinki and an installation created for the City is sound, city is quicksand - voicing imaginaries and dissonances -event there in May 2024.<\/jats:p>\n keywords: city, pine, trees, Citizenship<\/jats:p>","DOI":"10.22501\/ruu.2956237","type":"journal-article","created":{"date-parts":[[2026,4,29]],"date-time":"2026-04-29T08:03:24Z","timestamp":1777449804000},"source":"Crossref","is-referenced-by-count":0,"title":["Citizen Pine - an exploration"],"prefix":"10.22501","author":[{"family":"Annette Arlander","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:01:18Z","timestamp":1784286078000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2956237\/2956238"}},"issued":{"date-parts":[[2026,4,29]]},"references-count":0,"journal-issue":{"issue":"25"},"URL":"https:\/\/doi.org\/10.22501\/ruu.2956237","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2026,4,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:37Z","timestamp":1784286517287,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2014,9,5]],"date-time":"2014-09-05T00:00:00Z","timestamp":1409875200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2014,9,5]]},"abstract":"Name: Kristen HuebnerMain Subject: TraversoResearch Coaches: In\u00eas de Avena Braga and Jacques OggTitle of Research: Comparisons of Perspective in the Empfindsamer Stil: How the music of Carl Philipp Emmanuel Bach represents a microcosm of an emerging cultural initiativeResearch Question:What are the musical tools available to musicians which can be used to unlock the complex understanding of the Empfindsamer Stil?Research Process:My research process has been the result of years working and performing the 1788 Quartets for Keyboard, Flute and Viola by Carl Philipp Emmanuel Bach. Besides a deep musical analysis of these three works, the main body of my research has dealt with the developing style which is commonly associated with this music, that of Empfindsamkeit or Empfindsamer Stil. The English translation equating to \u201csensitive style\u201d is often associated with the Sturm und Drang, a highly influential literary movement of the 1770s. After reading much of the actual literature of the Sturm und Drang, including Johann Wolfgang Goethe\u2019s Die Leiden des jungen Werthers, I set out to draw a distinction between the terms Empfindsamkeit and Sturm und Drang. Carl Philipp Emmanuel Bach\u2019s ersuch ber die ahre rt das lavier u spielen provided the springboard for my musical analysis of the Quartets and a subsequent categorization of three distinct musical characteristics used to describe the music of the Empfindsamkeit.Summary of Results:Having its origins in literature, the Sturm und Drang aimed to represent an artistic struggle showing the depths and extremes of the human experience, working most often in contradiction with the mainstream Enlightenment ideology of the time, which was founded and based on man\u2019s ability to reason. Breaking away from this restrictive model, the Sturm und Drang influence crept further into cross-disciplines of poetry, theater and painting, yet striking deepest in the most ambiguous and indefinable of arenas, music. The Quartets of Carl Philipp Emmanuel Bach surprised and demanded a more explicit and contemplative attitude in order to perform with any real consciousness or effect. In addition to shifting roles in instrumentation with the keyboard asserting dominance over the supporting flute and viola, I have explored rhythmic manipulation and surprise, in addition to dynamic juxtaposition. Perhaps most taxing for the performer of these Quartets is the abruptness with which one must make changes in mood and character; drastic intervallic leaps, modulation to strange keys and an intentional disruption of the rhythmic pulse all contribute to a sense of impulsiveness, the suggestion of something that cannot be predicted and should be performed with an equal amount of surprise. The presentation will take the form of an informative demonstration combining live musical examples with visual representations of paintings and portraits of key figures in a PowerPoint presentation.<\/jats:p>\n keywords: traverso, Carl Philip Emmanuel Bach, Sturm und Drang, 18th century<\/jats:p>","DOI":"10.22501\/koncon.64860","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T05:30:56Z","timestamp":1725859856000},"source":"Crossref","is-referenced-by-count":0,"title":["Comparisons of Perspective in the Empfindsamer Stil: How the music of Carl Philipp Emmanuel Bach represents a microcosm of an emerging cultural initiative"],"prefix":"10.22501","author":[{"family":"Kristen Huebner","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:59:15Z","timestamp":1784285955000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/64860\/64861"}},"issued":{"date-parts":[[2014,9,5]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.64860","published":{"date-parts":[[2014,9,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:50Z","timestamp":1784282990326,"version":"3.55.0"},"posted":{"date-parts":[[2025,2,23]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,2,23]],"date-time":"2025-02-23T00:00:00Z","timestamp":1740268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"De to ocarinaene (keramikkfl\u00f8ytene) representerer samarbeidet med keramikkbandet LAIR fra Jatiwangi, Indonesia, som var i Norge i april 2022 som en del av deres World terracotta Tour. LAIR som er en del av Jatiwangi Art Factory er en av de kunstneriske referansene og en stor inspirasjon til prosjektet \"Jording med (bl\u00e5)leire\". Kunstnergruppa bruker kollektive prosesser som musikk, keramikkworkshops, seminarer, utstillinger og konkurranser, ofte med lokal leire som en del av det grunnet kollektivets lokasjon i en takteglproduserende landsby, til \u00e5 jobbe lokalpolitisk med tematikker som forurensing, samhold og landrettigheter.<\/jats:p>\n keywords: bl\u00e5leire, kunstnerisk forskning, clay, blueclay, artistic resaerch, teglhistorie, brick history, rooftiles, taktegl, jatiwangi art factory, LAIR, ceramic music, keramikkmusikk, sosial praksis, sosial engasjert kunst, Jatiwangi Art Factory<\/jats:p>","DOI":"10.22501\/rc.2935157","type":"posted-content","created":{"date-parts":[[2025,2,28]],"date-time":"2025-02-28T06:08:50Z","timestamp":1740722930000},"source":"Crossref","is-referenced-by-count":0,"title":["I l\u00e6ra hos LAIR"],"prefix":"10.22501","author":[{"family":"Sigrid Espelien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:22Z","timestamp":1784282302000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2935157\/2935020"}},"issued":{"date-parts":[[2025,2,23]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2935157","published":{"date-parts":[[2025,2,23]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:29Z","timestamp":1784282969123,"version":"3.55.0"},"posted":{"date-parts":[[2011,11,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2011,11,20]],"date-time":"2011-11-20T00:00:00Z","timestamp":1321747200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The Interactive Installation Double Skin\/Double Mind is a virtual interactive version of the Double Skin\/Double Mind workshop. This workshop, which has been taught by dance company Emio Greco | PC since 1996, represents the basis of the creative work of choreographers Emio Greco and Pieter C. Scholten. Participants in this workshop are challenged to discover new interpretations of their dancing body through the movement tracking program Gesture Follower developed by Fr\u00e9d\u00e9ric Bevilacqua (IRCAM). As result of this comparison different feedback, including emotive icons, sonification and text displays is given through an interface lay out developed by Chris Ziegler. Participants are accompanied by different visualization and sonic information while mentally and physically travelling through the Double Skin\/Double Mind structure.Professional as well as non-professional dancers are invited to experience this installation.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.8247","type":"posted-content","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:37:15Z","timestamp":1497983835000},"source":"Crossref","is-referenced-by-count":0,"title":["The Double Skin\/Double Mind Interactive Installation"],"prefix":"10.22501","author":[{"family":"Bertha Bermudez (Collaborator)","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Scott deLahunta","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Marijke Hoogenboom","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Chris Ziegler","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Frederic Bevilacqua","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Sarah Fdili Alaoui","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Barbara Meneses Gutierrez","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:25Z","timestamp":1784282185000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/8247\/8248"}},"issued":{"date-parts":[[2011,11,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jar.8247","published":{"date-parts":[[2011,11,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:03:15Z","timestamp":1784368995220,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T00:00:00Z","timestamp":1742169600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2025,3,17]]},"abstract":"The long-neglected industrial wastelands of Romania present themselves as heterotopias in need of help. Post-Communist industrial ruins form a link to a multi-layered and difficult past, and their systemic erasure has contributed to a collective amnesia that perpetuates historical trauma and denies the local population access to the landscapes, natural and artificial, that tie them to a shared past and a collective cultural identity.This contribution aims to illustrate one methodology of bridging the gap between preservation through museumification and invasive architectural intervention. In this context, artistic and design-driven research practices can enable the emergence of ephemeral creative spaces that foster engagement with industrial heritage and reach beyond commodification and capitalist exploitation.<\/jats:p>\n keywords: Design research, Design Thinking, design=art=research, design autoethnography, design phenomennography, architecture, architectural research, industrial ruins, adaptive reuse<\/jats:p>","DOI":"10.22501\/vis.2829981","type":"journal-article","created":{"date-parts":[[2025,3,17]],"date-time":"2025-03-17T17:35:01Z","timestamp":1742232901000},"source":"Crossref","is-referenced-by-count":0,"title":["Design Phenomenographies for Industrial Wastelands"],"prefix":"10.22501","author":[{"family":"monica tusinean","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:08:19Z","timestamp":1784365699000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2829981\/3316740"}},"issued":{"date-parts":[[2025,3,17]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/vis.2829981","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2025,3,17]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:46Z","timestamp":1784369086757,"version":"3.55.0"},"posted":{"date-parts":[[2023,5,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,5,31]],"date-time":"2023-05-31T00:00:00Z","timestamp":1685491200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"(Des)Acelera\u00e7\u00e3o is a relational system between coherent light, bioactive molecules, velocity, glass, photoluminescence, volume, surface, algorithm and programming, in continuous variation. It is the outcome of a residency in which a dynamic intermedia system was created, articulating knowledge from a spectrum of activities and configuring conditions for a spatial, optical and chromatic experience.The computer-controlled movement of the light beam, combined with the idiosyncrasies of the glasses, their heterogeneity, and that of the riboflavin, produces indeterminable phenomena of projection, reflection, refraction, and dispersion of light. In this system, coherent light ceases to be coherent. The laser beam is not used as a stylus but produces a visual experience that results from the coincidence of the predicted and determined with the unforeseen and indeterminate, of order with chaos.This work is a result of project 2SMART, engineered Smart materials for Smart citizens, with reference NORTE-01-0145-FEDER-000054, supported by Norte Portugal Regional Operational Programme (NORTE 2020), under the PORTUGAL 2020 Partnership Agreement, through the European Regional Development Fund (ERDF).<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/i2ads.2064815","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:09:20Z","timestamp":1727179760000},"source":"Crossref","is-referenced-by-count":0,"title":["(Des)Acelera\u00e7\u00e3o"],"prefix":"10.22501","author":[{"family":"Andr\u00e9 Rangel","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:36Z","timestamp":1784366436000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2064815\/2064816"}},"issued":{"date-parts":[[2023,5,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.2064815","published":{"date-parts":[[2023,5,31]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,8,2]],"date-time":"2026-08-02T20:49:48Z","timestamp":1785703788110,"version":"3.56.0"},"posted":{"date-parts":[[2026,8,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,8,2]],"date-time":"2026-08-02T00:00:00Z","timestamp":1785628800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"For That We Lie Down. A body-intelligent community investigates touch, lying, and collective presence as performative strategies for reimagining public space. The research is an attempt to create an experience of new encounters and deeper relationships between human bodies, nature and objects and especially experiencing a city as a subject. Developed through artistic research in Hamburg, Salzburg, Yokohama, and Wien since 2021, the project relocates the intimate practice of touch from protected interiors into urban environments marked by speed, surveillance, transit, and historical sedimentation. A precisely set performative touching sequence as a clear context and frame brings forth a heightened bodily perception. Within which a city emerges not as pure infrastructure, but as a living organism: vulnerable, historical, wounded, and responsive. Through tactile engagement, participants are invited to experience urban space beyond visual representation and functional use. Layers of memory, traces of past events, and subtle material transformations become perceptible through the body. Touch operates as a mode of inquiry, revealing hidden relations between human presence, architecture, and environment. In this way, the performative act reconfigures the city as a dynamic field of affective encounters, where personal sensations intersect with collective histories and spatial inscriptions.The research draws upon somatic practices, Japanese philosophy, eco-critical thought, and feminist relational theory. Nishida\u2019s concept of \u201cpure experience,\u201d Isabel Fremeaux\u2019s ecology of interdependence, and Donna Haraway\u2019s notion of situated coexistence form the theoretical constellation of this work. The project asks whether communities can emerge not through ideology or identity, that are mainly rational, but through shared corporeal attention in presence. Lying down becomes both resistance and listening: a refusal of acceleration and a method for sensing entanglement.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.4716748","type":"posted-content","created":{"date-parts":[[2026,8,2]],"date-time":"2026-08-02T20:00:58Z","timestamp":1785700858000},"source":"Crossref","is-referenced-by-count":0,"title":["A Body-intelligent Community. For That We Lie Down"],"prefix":"10.22501","author":[{"family":"Claudia Heu","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Almut Rink","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,8,2]],"date-time":"2026-08-02T20:00:58Z","timestamp":1785700858000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4716748\/4716749"}},"issued":{"date-parts":[[2026,8,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4716748","published":{"date-parts":[[2026,8,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:54Z","timestamp":1784369094340,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T00:00:00Z","timestamp":1779148800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2026,5,19]]},"abstract":"This exposition presents some of my most significant findings within the artistic research project Contingent Agencies (2019\u201325), conceived and conducted by myself and Nikolaus Gansterer, hosted by the University of Applied Arts Vienna, funded by the PEEK program of the Austrian Science Fund (FWF), and presented at the 16th SAR International Conference at Porto. The project aimed to shed light on the ways in which specific agencies condition the emergence of an atmosphere. In this exposition, on the basis of a series of selected \u201cartifacts of notation,\u201d the practice that produced them will be conceptualized as the \u201csensitive practice of reflective notation,\u201d and \u201cresonance\u201d will be outlined as a key phenomenon in the deployment of this practice. This conceptualization has been realized within my current research project The Sense of Common Self in the framework of How to Live Together in Sound? Towards Sonic Democracy\u2014an artistic research project (2023\u201327) hosted by the University of the Arts Helsinki and funded by the Kone Foundation. This development has been possible due to my work on a more extensive variety of research practices: \u201csensitive practices of reflective co-involvement.\u201d<\/jats:p>\n keywords: resonance, sensitive cognition, notation, reflection, attention, awareness, diagram<\/jats:p>","DOI":"10.22501\/hub.3870281","type":"journal-article","created":{"date-parts":[[2026,5,19]],"date-time":"2026-05-19T09:19:21Z","timestamp":1779182361000},"source":"Crossref","is-referenced-by-count":0,"title":["Resonance as a key phenomenon within practices of sensitive reflective notation"],"prefix":"10.22501","author":[{"family":"Alex Arteaga","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:21:17Z","timestamp":1784366477000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3870281\/3870282"}},"issued":{"date-parts":[[2026,5,19]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/hub.3870281","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2026,5,19]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:05Z","timestamp":1784369045427,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","license":[{"start":{"date-parts":[[2020,3,2]],"date-time":"2020-03-02T00:00:00Z","timestamp":1583107200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["VIS - Nordic Journal for Artistic Research"],"published-print":{"date-parts":[[2020,3,2]]},"abstract":"jag vet hur folkhemmet luktar is an interdisciplinary project that attempts to show a more complex picture of the Swedish folkhem (\u201cpeople\u2019s home\u201d \u2013 a term used to describe the vision of a better life for all by Swedish social democracy). The project is a response to the romanticised and idealised image of the folkhem which, in the current political climate, is mainly propagated by the far right with the populist and racist Swedish Democrats (SD) at the forefront. Using the artists own \u201cfolkhem-marinated\u201d body as a point of departure, the exposition sketches the nodes from which the folkhem unfolded and how that created the preconditions for certain people to feel at home while others were excluded. In mapping the \u201cfolkhem nodes\u201d photographic documentation, notes of childhood memories and a conversation with the father is used. The project investigates how the folkhem ideology was implemented through a linguistic as well as a spatial and material aesthetics. The textual memories are contextualized through a system of footnotes, that in the exposition are shown in pop-up windows and act as a commenting and associative parallel text to the memory narratives.<\/jats:p>\n keywords: svenska folkhemmet, body-at-home, folkhemmet, Konstfack portal - research, Konstfack portal - peer reviewed<\/jats:p>","DOI":"10.22501\/vis.643911","type":"journal-article","created":{"date-parts":[[2020,3,2]],"date-time":"2020-03-02T08:13:25Z","timestamp":1583136805000},"source":"Crossref","is-referenced-by-count":0,"title":["jag vet hur folkhemmet luktar"],"prefix":"10.22501","author":[{"family":"tina carlsson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["VIS - Nordic Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:15:11Z","timestamp":1784366111000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/643911\/643912"}},"issued":{"date-parts":[[2020,3,2]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/vis.643911","ISSN":["2003-024X"],"issn-type":[{"value":"2003-024X","type":"print"}],"published":{"date-parts":[[2020,3,2]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:02:27Z","timestamp":1784368947513,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2020,12,22]],"date-time":"2020-12-22T00:00:00Z","timestamp":1608595200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2020,12,22]]},"abstract":"Romanian\/French composer Hora\u021biu R\u0103dulescu (1942\u20132008) might superficially be thought of as part of the French spectral group with Grisey, Murail and others, but spectralism is a very broad church and Radulescu\u2019s work, as he states, radically transforms compositional technique away from treating sound from the outside, organising sounds produced in traditional ways; rather, he explores the possibility of sound\u2019s autonomy, of \u2018entering the sound\u2019. R\u0103dulescu\u2019s music from the late 1960s onwards is built from sound situations created by different treatments of fundamentals, the spectra produced by these treatments, and the isolation of individual spectra. The music evolves \u2018naturally\u2019 from the initial organisation of sound sources and formal structures, its interest lying in the interaction of the resulting harmonics, difference tones, sub-tones, rhythmic beats, and so on. The material of music is no longer the manipulation of pitch and rhythm but a \u2018living matter\u2019 that R\u0103dulescu calls \u2018sound plasma\u2019. As an example of R\u0103dulescu\u2019s work, this exposition presents an analysis from the performer\u2019s point of view of The Inner Time for solo clarinet (1983), illuminating the challenges posed by attempting to realise this score in performance. The piece, lasting 28 minutes, is composed in 137 modules or \u2018aural filters\u2019 notated as microtonal frequencies. The clarinettist uses multiphonics, harmonics and what R\u0103dulescu calls \u2018yellow tremoli\u2019 (trills on one pitch, colour trills, bisbigliando) following notated rhythmic patterns where pitches are split apart and the harmonics explored individually, then building and layering on top of each other.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/nmh-ar.1071756","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T08:14:38Z","timestamp":1684743278000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing the unplayable - Horatiu Radulescu"],"prefix":"10.22501","author":[{"family":"Roger Heaton","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:03:07Z","timestamp":1784365387000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1071756\/1071757"}},"issued":{"date-parts":[[2020,12,22]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1071756","published":{"date-parts":[[2020,12,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:00Z","timestamp":1784286300000,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"4","license":[{"start":{"date-parts":[[2013,12,16]],"date-time":"2013-12-16T00:00:00Z","timestamp":1387152000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2013,12,16]]},"abstract":"Using a heuristic a method of inquiry, my practice-led research investigates a creative visualisation of memory, autobiography, and domestic space. I approach these experiences from the perspective that home is not necessarily a fixed or ideal place, but rather an on-going condition underpinned by the tension between preservation and transformation. Within these parameters, home is defined primarily as a self-referential process whereby memory and autobiography are integral. I examine photograms and paper sculptures as methods of engaging with, recording, and cataloguing memory. How space is perceived and thus translated onto paper informs my understanding of the visceral and direct qualities of memory as an artefact, as well as a mode of storytelling. Through this, my research aims to contribute, through unconventional image-making processes, to how memory can be triggered and home re-constructed as a domestic diary. I argue that memory is provoked by an intimately-scaled, reconstructed portrayal of home as both an iconic and abstracted space whereby touch, light, and paper are necessary aids. Home is an important area of exploration because of its immediate link to memory. My research offers insight into how domestic space can be perceived as a diary.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.27572","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T05:52:34Z","timestamp":1492408354000},"source":"Crossref","is-referenced-by-count":0,"title":["The Photogram as a Domestic Diary"],"prefix":"10.22501","author":[{"family":"Pamela Salen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:16:53Z","timestamp":1784283413000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/27572\/27573"}},"issued":{"date-parts":[[2013,12,16]]},"references-count":0,"journal-issue":{"issue":"4"},"URL":"https:\/\/doi.org\/10.22501\/jar.27572","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2013,12,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:43Z","timestamp":1784286343720,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,6,16]],"date-time":"2026-06-16T00:00:00Z","timestamp":1781568000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,6,16]]},"abstract":"The present artistic research explores methods for expanding form in jazz composition, using the analysis of selected big band scores by contemporary composers Vince Mendoza and Miho Hazama as case studies. Aiming at overcoming common challenges when writing beyond conventional theme- and-variation structures, the study method combines critical reflective analysis, composer speculative thinking and practical compositional application. In the first part, this research examines and extracts concrete compositional strategies from the selected scores, with a focus on melodic, harmonic, rhythmic and thematic material, and their role in shaping musical form. In the second part the strategies are implemented in the compositional process, in an attempt to arrange and compose in more extended forms, and to treat formal structures in a more flexible way. Beyond showing in detail specific tools, this research proposes a model to transform reflective analysis of scores into creative tools, offering composers a structured and adaptable approach to develop innovative solutions for form development in contemporary jazz contexts and, potentially, to overcome their specific creative roadblocks in other compositional areas relevant to their own artistic practice.<\/jats:p>\n keywords: Analysis, Arranging, Big Band, Case Study, Contemporary Jazz, Jazz, Jazz Composition, Vince Mendoza, Miho Hazama, Extended Musical Form<\/jats:p>","DOI":"10.22501\/koncon.4027194","type":"journal-article","created":{"date-parts":[[2026,6,16]],"date-time":"2026-06-16T13:52:04Z","timestamp":1781617924000},"source":"Crossref","is-referenced-by-count":0,"title":["Beyond Cyclic Structures"],"prefix":"10.22501","author":[{"family":"Daniel Sueiro Martinez-Collado","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:19:57Z","timestamp":1784283597000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4027194\/4027195"}},"issued":{"date-parts":[[2026,6,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.4027194","published":{"date-parts":[[2026,6,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:19Z","timestamp":1784283019575,"version":"3.55.0"},"posted":{"date-parts":[[2024,10,27]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,10,27]],"date-time":"2024-10-27T00:00:00Z","timestamp":1729987200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research builds on 20 years of combined experience in economics and art, exploring how economic and relational systems shape emotional landscapes. The study investigates the intersection of art and economy through the lens of love, using resonance and affect to understand their relational dynamics. With a focus on nomadic practices exemplified by the Lisbon Drawing Club, the research examines how community-oriented art fosters relational bonds and emotional responses, particularly through drawing sessions. Employing autoethnographic and desire-based approaches, the project integrates mapping, community engagement, and artistic experimentation to deepen insights into art-economy relationships.<\/jats:p>\n keywords: drawing, artistic research, economy, love, relational aesthetics, resonance<\/jats:p>","DOI":"10.22501\/rc.3109465","type":"posted-content","created":{"date-parts":[[2024,10,27]],"date-time":"2024-10-27T11:46:36Z","timestamp":1730029596000},"source":"Crossref","is-referenced-by-count":0,"title":["FROM ART TO ECONOMY AND BACK: Initial steps towards the understanding of resonance, affect and love in nomadic systems through the case study of Lisbon Drawing Club"],"prefix":"10.22501","author":[{"family":"L\u00edgia Fernandes","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:35Z","timestamp":1784282315000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3109465\/3109466"}},"issued":{"date-parts":[[2024,10,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3109465","published":{"date-parts":[[2024,10,27]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025351,"version":"3.55.0"},"posted":{"date-parts":[[2022,10,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,10,10]],"date-time":"2022-10-10T00:00:00Z","timestamp":1665360000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition forms part of the Editorial Introduction by Alex Arteaga and Emma Cocker published in the Special Issue 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, 2022]. ISSN 1913-4711 See full issue here - https:\/\/journals.library.ualberta.ca\/pandpr\/index.php\/pandpr\/index<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1582275","type":"posted-content","created":{"date-parts":[[2022,10,10]],"date-time":"2022-10-10T08:09:34Z","timestamp":1665389374000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial Process: Practices of Phenomenological and Artistic Research"],"prefix":"10.22501","author":[{"family":"Emma Cocker","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Alex Arteaga","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:44Z","timestamp":1784282384000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1582275\/1582276"}},"issued":{"date-parts":[[2022,10,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1582275","published":{"date-parts":[[2022,10,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:12Z","timestamp":1784282952642,"version":"3.55.0"},"posted":{"date-parts":[[2024,4,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,4,4]],"date-time":"2024-04-04T00:00:00Z","timestamp":1712188800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In occasione del workshop tenuto dal prof Ripa di Meana e dal post-doc Andrea Guidi, sono stato invitato a leggere la scena quarta e quinta dell'Amleto di Shakespeare. Dopo una iniziale lettura personale, il prof ha tenuto una lettura collettiva in cui ciascuno studente esponeva le prime impressioni sul testo. In questa fase il prof ci ha aiutato a focalizzare meglio i temi principali delle scene lette, agevolando noi studenti l'osservazione di alcune delle dinamiche principali della tragedia. Dopo la lettura collettiva, \u00e8 iniziato il mio personale processo sul testo di Shakespeare che si \u00e8 composto di tre fasi principali: - reinterpretazione, - ricerca,- rielaborazione. 1 FASE DI REINTERPRETAZIONESono partito rileggendo il testo dell'Amleto e, contemporaneamente, su un foglio scrivevo quelli che ritenevo essere i \"punti principali\" delle scene analizzate.Successivamente ho iniziato una fase di \"brainstorming personale\" in cui andavo a scrivere tutte le parole-chiave che mi venivano in mente, cercando connessioni, approfondimenti e punti di vista diversi tra le varie parole che venivano fuori. 2 FASE DI RICERCAUna volta completata questa prima fase di reinterpretazione del testo, mi sono concentrato sulla ricerca delle principali tematiche che sono venute a galla nei punti chiave e nel brainstorming. Nel farlo ho utilizzato due strumenti: il primo \u00e8 KOBI e il secondo \u00e8 Perplexity. In questa analisi, non mi soffermer\u00f2 sul secondo ma esporr\u00f2 le ricerche effettuate sulla prima piattaforma menzionata. In generale, la fase di ricerca \u00e8 consistita in un'alternarsi e un'influenzarsi di entrambi i motori di ricerca. Su KOBI ho cercato parole-chiave come: \"delirio\", \"sogno\", \"complesso di edipo\", \"piattaforma\", \"memoria\", \"ricordo\" ecc...Per alcune ricerche non usciva nulla, per altre invece venivano suggeriti media e materiali estremamente interessanti che hanno indirizzato il mio percorso di rielaborazione del testo. 3 FASE DI RIELABORAZIONEUna volta soddisfatto la mia necessit\u00e0 di ricerca di materiale, in maniera molto naturale, ho avuto l'idea di come rielaborare uno dei temi principali emersi nel testo shakespeariano. In sintesi, ritengo KOBI uno strumento efficace per aumentare la creativit\u00e0, tuttavia in questa fase embrionale della piattaforma, risulta ancora difficile ottenere sempre risultati, per via del ristretto database di cui la piattaforma fa uso. Tuttavia, se sviluppata al meglio, ritengo che questo possa essere un medium fantastico per chiunque faccia ricerca, artistica e non, ampliando le proprie possibilit\u00e0 creative e il proprio bagaglio di conoscenza.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2652191","type":"posted-content","created":{"date-parts":[[2024,4,4]],"date-time":"2024-04-04T08:17:38Z","timestamp":1712218658000},"source":"Crossref","is-referenced-by-count":0,"title":["Come rendere visibile l'invisibile?"],"prefix":"10.22501","author":[{"family":"Michele Rinaldi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:48Z","timestamp":1784282328000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2652191\/2652192"}},"issued":{"date-parts":[[2024,4,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2652191","published":{"date-parts":[[2024,4,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:57Z","timestamp":1784283057442,"version":"3.55.0"},"posted":{"date-parts":[[2019,12,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,12,17]],"date-time":"2019-12-17T00:00:00Z","timestamp":1576540800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Mariam KharatyanChapter 1 of 7: \"Introduction\"<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.648723","type":"posted-content","created":{"date-parts":[[2019,12,17]],"date-time":"2019-12-17T11:57:01Z","timestamp":1576583821000},"source":"Crossref","is-referenced-by-count":0,"title":["Introduction"],"prefix":"10.22501","author":[{"family":"Mariam Kharatyan","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:41Z","timestamp":1784282441000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/648723\/648724"}},"issued":{"date-parts":[[2019,12,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.648723","published":{"date-parts":[[2019,12,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:04Z","timestamp":1784289844394,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"6","license":[{"start":{"date-parts":[[2016,10,3]],"date-time":"2016-10-03T00:00:00Z","timestamp":1475452800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,10,3]]},"abstract":"In this text, I question the concepts of urban space and public art. Experimental artistic interventions are conducted using situational irony as a method for reflecting on the impact urban public space and its user can have. Instead of interrogating people and involving them in the process, the interventions put questions directly to public infrastructure, to walls, fences, buildings and pedestrian ways. In a post-Beuysian vein, an artist workshop is extended to public space in order to work with its mechanisms and possibilities. This is considered a political act. The research aims to contribute to the redefinition of concepts regarding how we look at and develop public urban space.<\/jats:p>\n keywords: Urban space, visual art, Public art, artistic research, artistic intervention, experimental artistic intervention, city planning, irony as a methode, political impact<\/jats:p>","DOI":"10.22501\/ruu.276211","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:05Z","timestamp":1503635045000},"source":"Crossref","is-referenced-by-count":0,"title":["A City Never Lies \u2013 Situational Irony and the Political Impact of Public Urban Space."],"prefix":"10.22501","author":[{"family":"Denise Ziegler","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:18:14Z","timestamp":1784287094000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/276211\/276212"}},"issued":{"date-parts":[[2016,10,3]]},"references-count":0,"journal-issue":{"issue":"6"},"URL":"https:\/\/doi.org\/10.22501\/ruu.276211","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2016,10,3]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:07:32Z","timestamp":1784290052810,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2015,10,28]],"date-time":"2015-10-28T00:00:00Z","timestamp":1445990400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2015,10,28]]},"abstract":"This paper was written as a keynote address for ESSA 2014, Mapping the Field, where the conference organizers asked me to reflect on my own and others\u2019 journeys between sound theory and sound practice. As a live presentation, focused on voice, my aim was to speak in a way that would invoke the journey and invite the audience to join me. To do this, I both took literally the conference\u2019s trope of mapping, and also, in terms of style, wrote\/spoke in a performative mode that does not always translate easily into a written form. While I have adapted that address for written publication here, I have chosen to leave some traces of the aural mode, because in my view it speaks to the specific task of evoking a (theoretical and practical) journey. I have also retained the voice of situated knowledge, even if I have curbed some of its more poetic and emphatic spoken moments, because it resonates with the aim of reflecting on my own and others\u2019 journeys, as I hope will unfold in the paper below.<\/jats:p>\n keywords: sound, Journal of sonic studies<\/jats:p>","DOI":"10.22501\/jss.219795","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:27Z","timestamp":1733131647000},"source":"Crossref","is-referenced-by-count":0,"title":["Mapping Soundfields: A User\u2019s Manual"],"prefix":"10.22501","author":[{"family":"Norie Neumark","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:51:07Z","timestamp":1784289067000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/219795\/219796"}},"issued":{"date-parts":[[2015,10,28]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/jss.219795","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2015,10,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:15Z","timestamp":1784290095543,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"11","license":[{"start":{"date-parts":[[2016,3,9]],"date-time":"2016-03-09T00:00:00Z","timestamp":1457481600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2016,3,9]]},"abstract":"In this interview, Recomposing the City co-directors Sarah Lappin and Gascia Ouzounian talk with Peter Cusack about his recent work, reflecting in particular on relationships between sound, sound art, planning processes, and urban communities. Cusack, a field recordist and sound artist, has been a leading figure in acoustic ecology and soundscape studies for more than two decades. Cusack created one of the earliest collaborative sound mapping projects, Favourite Sounds (1998-), in which he invited people to record, share, and describe positive aspects of their everyday sound environments. Among other things, Favourite Sounds has been influential in inspiring the recent proliferation of online sound maps, establishing a framework for producing collective ideas of soundscape, and suggesting approaches to urban sound that extend beyond noise pollution.<\/jats:p>\n keywords: Journal of sonic studies, sound art, Recomposing the city, Peter Cusack, soundscape<\/jats:p>","DOI":"10.22501\/jss.236026","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:27:30Z","timestamp":1733131650000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonic Places: In Conversation with Peter Cusack"],"prefix":"10.22501","author":[{"family":"Sarah Lappin","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Gascia Ouzounian","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:50:10Z","timestamp":1784289010000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/236026\/236027"}},"issued":{"date-parts":[[2016,3,9]]},"references-count":0,"journal-issue":{"issue":"11"},"URL":"https:\/\/doi.org\/10.22501\/jss.236026","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2016,3,9]]}},{"indexed":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T10:07:11Z","timestamp":1784110031562,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"38","license":[{"start":{"date-parts":[[2026,6,17]],"date-time":"2026-06-17T00:00:00Z","timestamp":1781654400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2026,6,17]]},"abstract":"P.O.V. (\u2018Point of View\u2019) es una propuesta que redefine el concepto de int\u00e9rprete extendido (\u2018extended performer\u2019) desde una perspectiva interdisciplinaria. Este enfoque combina m\u00fasica electr\u00f3nica, gafas de realidad virtual, video y redes sociales como elementos integrales de la performance. A trav\u00e9s de esta interacci\u00f3n multimedia, no s\u00f3lo se busca amplificar el impacto sensorial de la obra, sino tambi\u00e9n fomentar una reflexi\u00f3n cr\u00edtica sobre c\u00f3mo la tecnolog\u00eda y las redes sociales moldean la percepci\u00f3n y la identidad en la contemporaneidad. En este sentido, la investigaci\u00f3n examina c\u00f3mo el int\u00e9rprete puede transformarse en un agente cr\u00edtico \u2014desarrollando, incluso, una nueva manera de crear mediante la colaboraci\u00f3n\u2014 cuando la tecnolog\u00eda deja de ser un medio espectacular para convertirse en una extensi\u00f3n reflexiva de su pr\u00e1ctica; y c\u00f3mo, a partir de la integraci\u00f3n entre cuerpo, sonido e imagen, puede emerger un tipo de conocimiento propio del acto performativo.P.O.V. sintoniza con los principios de mi \u00e1rea de estudio, cuyo objetivo es profundizar en las posibilidades creativas que surgen en la convergencia entre m\u00fasica, tecnolog\u00eda y performance. Esta propuesta no s\u00f3lo pretende ofrecer una contribuci\u00f3n innovadora al repertorio del saxof\u00f3n, sino tambi\u00e9n explorar nuevas perspectivas en el \u00e1mbito de la gestualidad, as\u00ed como en la integraci\u00f3n y la interacci\u00f3n con medios tecnol\u00f3gicos.La obra se sit\u00faa dentro de un marco de investigaci\u00f3n art\u00edstica que desaf\u00eda las convenciones tradicionales del concierto cl\u00e1sico, proponiendo una experiencia novedosa tanto para el int\u00e9rprete como para el espectador.<style scoped=\"scoped\">\/* rules to make button only show up in META *\/.download-accessible { display:none;}.meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white;}<\/style><a class=\"download-accessible\" href=\"\/researches\/4706387\/download\/4706392\" title=\"This accessible PDF is a derivative of the original which it is meant to support and not replace.\">Download Accessible PDF<\/a><\/jats:p>\n keywords: virtual reality, extended performer, saxophone, extended techniques, interdisciplinarity<\/jats:p>","DOI":"10.22501\/jar.2914544","type":"journal-article","created":{"date-parts":[[2026,6,17]],"date-time":"2026-06-17T21:52:16Z","timestamp":1781733136000},"source":"Crossref","is-referenced-by-count":0,"title":["Hacia el int\u00e9rprete extendido. M\u00e1s all\u00e1 del saxof\u00f3n: el gesto y la tecnolog\u00eda en P.O.V."],"prefix":"10.22501","author":[{"family":"Pedro Pablo C\u00e1mara Toldos","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,15]],"date-time":"2026-07-15T09:25:24Z","timestamp":1784107524000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2914544\/2914545"}},"issued":{"date-parts":[[2026,6,17]]},"references-count":0,"journal-issue":{"issue":"38"},"URL":"https:\/\/doi.org\/10.22501\/jar.2914544","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2026,6,17]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948887,"version":"3.55.0"},"posted":{"date-parts":[[2026,4,15]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,4,15]],"date-time":"2026-04-15T00:00:00Z","timestamp":1776211200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This work provides a formal architecture of consciousness based on a single axiom of existence - consciousness is the fundamental basis of reality and not a product of matter. It combines the principles of Advaita Vedanta philosophy, the \u201chard problem\u201d of consciousness (Chalmers), and quantum informational theory (Faggin & D\u2018ariano) to develop a framework that provides an ontic-epistemic boundary to bridge the inner and outer nature of consciousness. In this framework, conscious experience is formally derived from the interaction of an universal superposition of all configurations and the specific intensity of a conscious system\u2019s field.One of the key principles of this architecture is the redefining of space and time as a fundamental to reality; rather, space and time are considered to be the result of topologies of consciousness. Linear time is formally re-defined as the product of classical memory overpowering quantum emotional coherence. This allows for a formal remapping of collective material reality from a collective overlap of conscious systems. In defining the formal boundaries of inner experience, this paper argues that the \u201chard problem\u201d of consciousness is not a flaw of theory but a necessity of the ontic-epistemic boundary, and the question itself is inverted.The paper provides a new perspective into the nature of consciousness. It shifts the primary inquiry of consciousness studies from how matter leads to the existence of the mind to why a universal field of consciousness takes the form of individualized self-experience. It provides multi-layered theoretical means of investigating conscious systems and the consistency of a collective reality.<\/jats:p>\n keywords: consciousness, Quantum physics, advaita vedanta<\/jats:p>","DOI":"10.22501\/rc.4353197","type":"posted-content","created":{"date-parts":[[2026,4,15]],"date-time":"2026-04-15T15:27:57Z","timestamp":1776266877000},"source":"Crossref","is-referenced-by-count":0,"title":["Architecture of Consciousness"],"prefix":"10.22501","author":[{"family":"Maja Maletkovic","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:56:46Z","timestamp":1784282206000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4353197\/4353196"}},"issued":{"date-parts":[[2026,4,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4353197","published":{"date-parts":[[2026,4,15]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:08:22Z","timestamp":1784286502575,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2016,6,14]],"date-time":"2016-06-14T00:00:00Z","timestamp":1465862400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2016,6,14]]},"abstract":"Name: Cody TakacsMain Subject: Classical Double BassResearch Supervisor: Maggie UrquhartTitle of Research: Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoireResearch Question:How can double bassists efficiently learn contemporary solo double bass repertoire requiring the simultaneous use of their voice and playing their instrument?Summary of Results:Due to an exponentially growing number of compositions and a complete lack of pedagogical material regarding simultaneously using the voice and playing the double bass, I have written a method book titled The Double Bass-Voice: A How-To Guide. For this book I have collected, adapted, and organized information from double bass pedagogical resources, vocal pedagogical resources, musical scores, and reflections on past experiences with this repertoire. The book is intended to develop the technique and coordination necessary to effectively prepare solo double bass-voice repertoire. The book is divided into four main sections: \u201cUsing the Voice as a Practice Aid,\u201d \u201cVocal Tools and Techniques,\u201d \u201cEtudes and Exercises,\u201d and \u201cNotation Examples\u201d as well as a database of the solo double bass-voice repertoire. By incorporating the voice as a tool into individual practice, understanding an efficient practice process and fundamental vocal technique, having access to simple etudes to develop double bass-voice technique and coordination in musical contexts, and knowing what to expect in notation, double bassists will be better prepared in learning works for double bass-voice more efficiently. These results will be presented via PowerPoint presentation with musical examples from the method book and select double bass-voice works.Biography:Cody Takacs is a classically trained American double bassist currently residing in The Hague. An avid performer of new music, he has performed with Ensemble Klang, De Nieuwe European Ensemble, Het Metropole Orkest, and the Lucerne Festival Academy Orchestra and has appeared in the Gaudeamus Muziekweek, Venice Biennale, and Bang on a Can Summer Music Festival. He has given contemporary solo performances at the Rotterdam Contemporary Art Fair, Carnegie Hall, several universities and conservatories across the U.S. and Europe, and a lecture\/performance on Iannis Xenakis at the International Society of Bassists convention.<\/jats:p>\n keywords: double bass, voice, practice, method<\/jats:p>","DOI":"10.22501\/koncon.104841","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:47:43Z","timestamp":1725907663000},"source":"Crossref","is-referenced-by-count":0,"title":["Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire"],"prefix":"10.22501","author":[{"family":"Cody Takacs","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:53:37Z","timestamp":1784285617000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/104841\/104842"}},"issued":{"date-parts":[[2016,6,14]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.104841","published":{"date-parts":[[2016,6,14]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:23Z","timestamp":1784283023037,"version":"3.55.0"},"posted":{"date-parts":[[2021,11,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,11,7]],"date-time":"2021-11-07T00:00:00Z","timestamp":1636243200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This work arises from the long and passionate research the author has been conducting through the years as member of a professional piano duo (the Dirac PIano Duo). It aims firstly to understand why the piano four-hands repertoire has been for long time stigmatized as an \u201cinferiorgenre\u201d despite its unquestionable value, and it also seeks to shed light on the contemporary repertoire for this medium, which is at present almost unknown, unperformed and undiscussed although it embodies masterpieces of undoubted artistic quality.To do so, this thesis will first focus on the technical challenges, the distinctive features, the possibilities of expression as well as the limitations that characterize the piano four-hand repertoire, explaining why they are of a completely unique order and why they make the medium itself so distinctive and so controversial at the same time.It will then explore the medium also from a more historical point of view, setting it into the social- cultural-musical context of the various periods and deeply investigating the process that has brought it from being considered one of the most fascinating socio-cultural phenomena of the nineteenth century to its almost complete extinction at the beginning of the twentieth century, with the ultimate scope of analyzing what is left of it nowadays and which is its role in the current musical scenario.The results of the investigation point out that once the historical and sociological factors that have allowed for the extreme popularity of the medium fell short, the latter could finally assume a completely new value and be a site of compositional and performance innovation that absolutely deserves to be discovered, performed and analyzed.The output of this dissertation have also inspired the young Chinese composer Ching-Fang Teng to write \u201cEntanglement\u201d, a proper homage to the medium and to its endless compositional potential.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1411202","type":"posted-content","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:15:08Z","timestamp":1684746908000},"source":"Crossref","is-referenced-by-count":0,"title":["UPDATED Piano four-hands, \"once again\""],"prefix":"10.22501","author":[{"family":"Alessandra Di Gennaro","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:59Z","timestamp":1784282399000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1411202\/1411201"}},"issued":{"date-parts":[[2021,11,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1411202","published":{"date-parts":[[2021,11,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025336,"version":"3.55.0"},"posted":{"date-parts":[[2023,5,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,5,14]],"date-time":"2023-05-14T00:00:00Z","timestamp":1684022400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition is a multimedial, but mostly textual, documentation of years and years of working with horses as a motif and a method for making art, theory, texts, thoughts and feelings. Horses in art has a long history. My take on it is a girlish one; drawing from a feminist, queer and neurodivegrent position. The horse works with embodiment, textualities, reading, love, care, mis\/understandings, closeness, sadness, obsessions, un\/subjectivities, collectivity, and much more. The horse allows the artist to be a troyan horse within the field of art and academia, but it also shares vulnerabilities an power imbalances. The horse, here, is everything.Instructions for the viewer\/reader: The exposition contains years of work. Please do not watch or read everything (even if you are wellcome to do so). Do act like a horse choosing which leaves of grass to eat. Choose carefully but spontaneously, wander around. A field work. A field of horses.<\/jats:p>\n keywords: horses, art<\/jats:p>","DOI":"10.22501\/rc.2096048","type":"posted-content","created":{"date-parts":[[2023,5,15]],"date-time":"2023-05-15T08:45:32Z","timestamp":1684140332000},"source":"Crossref","is-referenced-by-count":0,"title":["HORSE HORSE O GIRL (?) READ EAT HORSE O."],"prefix":"10.22501","author":[{"family":"Anna Nygren","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:31Z","timestamp":1784282371000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2096048\/2096049"}},"issued":{"date-parts":[[2023,5,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2096048","published":{"date-parts":[[2023,5,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:42Z","timestamp":1784283042750,"version":"3.55.0"},"posted":{"date-parts":[[2019,6,21]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2019,6,21]],"date-time":"2019-06-21T00:00:00Z","timestamp":1561075200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Tout a d\u00e9but\u00e9 par un d\u00e9sir et ce qui m\u2019apparaissait comme une n\u00e9cessit\u00e9: tenter une relecture queer et f\u00e9ministe de l\u2019abstraction.<\/jats:p>\n keywords: abstraction, drawing, photography, affects, deleuze, lorenz<\/jats:p>","DOI":"10.22501\/rc.648559","type":"posted-content","created":{"date-parts":[[2019,6,20]],"date-time":"2019-06-20T22:27:00Z","timestamp":1561069620000},"source":"Crossref","is-referenced-by-count":0,"title":["MONUMENTS \/ Les fronti\u00e8res qui \u00e9tablissent les normes qui nous fondent n\u2019existent pas ici"],"prefix":"10.22501","author":[{"family":"Audrey Beaul\u00e9","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:46Z","timestamp":1784282446000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/648559\/648560"}},"issued":{"date-parts":[[2019,6,21]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.648559","published":{"date-parts":[[2019,6,21]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967773,"version":"3.55.0"},"posted":{"date-parts":[[2025,11,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T00:00:00Z","timestamp":1763424000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The concert setting, as standardised through the worldwide prevalence of Western Classical music, offers a unique condition in which audience members from various backgrounds coexist in the same time and space, and are prompted to act and interact, restrictedly yet often intensely, by attending and orienting themselves to a medium frequently marked by its intangibility and ineffability. Despite such a richly layered social practice, existing musical works that aim to bring about divergent models of communion tend to eschew this listening convention, rather than harnessing the aforementioned characteristics to unleash new forms of togetherness. My artistic research seeks to instigate such novel social configurations by creating musical works that articulate previously unexposed relationships among concert audience members. Through factoring in their differing preconditions relative to the performance, my works aim to redistribute what can be sensed by whom (Ranci\u00e8re 2004). Grounded in a pragmatist view of music-listener co-articulation, I introduce the concepts of circumscribed and preferred affordances. Their dynamics at work are examined through pieces that resonate with my approach, including und als wir (1993) by Mathias Spahlinger and Quadraturen V (2000) by Peter Ablinger. These help illuminate my strategies in redistributing the sensible while motivating intersubjective awareness, as exemplified in D!V\u00a3R#!M&NT! (2024) and Brief Version of Seoljanggu (2021\u2013), which configure heterogeneous sets of affordances in relation to individual and cultural differences. Knowledge and experiences generated through this endeavour aim to deepen our understanding of the intricate intersubjectivities of listening, while also opening new routes for broader reflections on the social dimensions of human relations.<\/jats:p>\n keywords: composition, audience, listeners, concert, redistribution of the sensible, dissensus, being-with, intersubjectivity, interculturality, affordance, social mediation, Beethoven, Cage, Spahlinger, Ablinger, Cantonese, Yoruba, Hindi, Gugak, Korean traditional music, janggu, Nancy, Ranci\u00e8re<\/jats:p>","DOI":"10.22501\/rc.3919777","type":"posted-content","created":{"date-parts":[[2025,11,18]],"date-time":"2025-11-18T07:15:09Z","timestamp":1763450109000},"source":"Crossref","is-referenced-by-count":0,"title":["Dispositions of Being-With: Redistributing Heterogeneity among the Concert Audience"],"prefix":"10.22501","author":[{"family":"Kelvin King Fung Ng","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:33Z","timestamp":1784282253000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3919777\/3919778"}},"issued":{"date-parts":[[2025,11,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3919777","published":{"date-parts":[[2025,11,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:59Z","timestamp":1784282999514,"version":"3.55.0"},"posted":{"date-parts":[[2025,10,8]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T00:00:00Z","timestamp":1759881600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Message Transfer Theory (MTT)A Treatise on the Reversal of Meaning, the Displacement of Intent, and the Object as ConduitBy Dorian ValeWhat happens when the message no longer belongs to the maker? In this defining treatise, Dorian Vale introduces Message Transfer Theory (MTT) \u2014 a foundational pillar of the Post-Interpretive Movement that reorients our understanding of the art object as a conduit, not a container. Rather than treating artworks as stable vessels of artist intent, MTT proposes that meaning is displaced, reversed, or even transferred entirely \u2014 not during creation, but at the moment of reception. Here, the object becomes a threshold. It does not hold meaning \u2014 it reroutes it. The artist initiates a signal, but the work lives on in the shifts, slippages, and interruptions that occur in its wake. This theory explains how art can haunt, harm, heal, or transform in ways the artist never imagined \u2014 and how the critic\u2019s attempt to reassert original intent is often an act of aesthetic erasure. Drawing from theories of semiotics, trauma transmission, media studies, and sacred encounter, this treatise reframes the artwork as a relational event. It introduces new terms into the Post-Interpretive Lexicon \u2014 including Conduit Object, Transfer Shock, Residue Receiver, and Reversal Gaze \u2014 each articulating a more fluid, ethical understanding of art\u2019s unpredictable passage between maker, medium, and witness. If the artist is the sender, and the viewer the receiver, then Message Transfer Theory is the study of what the artwork becomes when neither controls the signal anymore. Vale, Dorian. Message Transfer Theory (MTT): A Treatise on the Reversal of Meaning, the Displacement of Intent, and the Object as Conduit. Museum of One, 2025. DOI: 10.5281\/zenodo.17055523Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843)<\/jats:p>\n keywords: Stillmark Theory, Post-Interpretive Criticism, Message-Transfer Theory, Theory of Misplacement, Aesthetic Displacement Theory, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Language as violence, Aesthetic mercy, Epistemology of witness, Art encounter ethics, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Museum of One, Independent Philosopher of Art, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, The Doctrine of Post-Interpretive Criticism, The Custodian\u2019s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Post-Interpretive Lexicon, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint<\/jats:p>","DOI":"10.22501\/rc.3921562","type":"posted-content","created":{"date-parts":[[2025,10,8]],"date-time":"2025-10-08T05:59:41Z","timestamp":1759903181000},"source":"Crossref","is-referenced-by-count":0,"title":["Message Transfer Theory (MTT): A Treatise on the Reversal of Meaning, the Displacement of Intent, and the Object as Conduit"],"prefix":"10.22501","author":[{"family":"Dorian Vale","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:48Z","timestamp":1784282268000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3921562\/3921561"}},"issued":{"date-parts":[[2025,10,8]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3921562","published":{"date-parts":[[2025,10,8]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:14Z","timestamp":1784289854219,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2013,12,8]],"date-time":"2013-12-08T00:00:00Z","timestamp":1386460800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2013,12,8]]},"abstract":"In this writing, I open up the process of a previous site-specific live installation which I was involved in: Between two skies (2012). This piece is the first part of my doctoral thesis in artistic research, dealing with the spatial experience and the transformation of the scenographer\u2019s working methods. The concept of the event was mainly formed collectively by the discussions and experiments of the working group. In this text, I observe the spatial experience from three points of view: via my own experience, from the perception of the visitors and connecting it to a wider perspective, namely reflecting the nature of the live installation to the art critic Claire Bishop\u2019s thoughts and examples in the book Installation Art, A Critical History (2005) and Anna Moszynska's book Sculpture Now (2013). In the end, I am summing up the kind of impact this process and these three different views have had on my research and how the thoughts and questions have evolved during the preparations.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/ruu.31930","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:47Z","timestamp":1503635087000},"source":"Crossref","is-referenced-by-count":0,"title":["Tilakokemuksia esitysinstallaatiossa"],"prefix":"10.22501","author":[{"family":"Elina Lifl\u00e4nder","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:21:39Z","timestamp":1784287299000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/31930\/31931"}},"issued":{"date-parts":[[2013,12,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/ruu.31930","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2013,12,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996790,"version":"3.55.0"},"posted":{"date-parts":[[2024,6,1]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T00:00:00Z","timestamp":1717200000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\"Transformative Encounters\" is a podcast series dedicated to the exploration and unpacking of the concept \"performative encounters\" within the realm of contemporary performance and how it can be understood. This series forms an integral part of the knowledge dissemination deriving from the artistic research project How Little is Enough? that is centered on sustainability and social change, conducted at the Malm\u00f6 Theatre Academy by Steinunn Kn\u00fats \u00d6nnud\u00f3ttir under the umbrella of Agenda 2030 a transdisciplinary Graduate School within Lund University. In the podcast, Steinunn extends invitations to european artists and theorists, fostering performative encounters where they engage in in-depth discussions and multifaceted explorations of this concept from diverse perspectives.The podcast series is edited and produced by Steinunn Kn\u00fats \u00d6nnud\u00f3ttir with the support of Inter Arts Centre at Lund University and Malm\u00f6 Theatre Academy.Music: Halla Steinunn Stef\u00e1nsd\u00f3ttir<\/jats:p>\n keywords: relation specific performance, sustainability, existential sustainability, participation, transformation, performative encounters, site-specificity, human specificity<\/jats:p>","DOI":"10.22501\/rc.2358607","type":"posted-content","created":{"date-parts":[[2024,6,1]],"date-time":"2024-06-01T09:54:46Z","timestamp":1717235686000},"source":"Crossref","is-referenced-by-count":0,"title":["Transformative Encounters Podcast"],"prefix":"10.22501","author":[{"family":"Steinunn Kn\u00fats \u00d6nnud\u00f3ttir","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:45Z","timestamp":1784282325000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2358607\/2358608"}},"issued":{"date-parts":[[2024,6,1]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2358607","published":{"date-parts":[[2024,6,1]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950941,"version":"3.55.0"},"posted":{"date-parts":[[2024,8,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,8,16]],"date-time":"2024-08-16T00:00:00Z","timestamp":1723766400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/Public_domain"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"La culoferencia es un dispositivo de encuentro entre investigaciones, una puesta en di\u00e1logo de modos de pensar juntas desde el cul0, con el cul0 y gracias al cul0. Pantagrueliano, si. Una oportunidad de retomar nuestra tradici\u00f3n carnavalesca, una oportunidad de asir las memorias de nuestros cuerpos medievales. Una oportunidad para pensar las relaciones del atr\u00e1s y el adelante como construcciones espaciales mediadas por nuestra percepci\u00f3n que al mismo tiempo se fue haciendo en nuestras escrituras, nuestras herencias y los mandatos e imperativos que el danzar ha impuesto al cuerpo.<\/jats:p>\n keywords: culo, bottom, booty, Thal\u00eda, jabal\u00ed, Happening, Twerk<\/jats:p>","DOI":"10.22501\/rc.2972951","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T11:38:04Z","timestamp":1725536284000},"source":"Crossref","is-referenced-by-count":0,"title":["Culoferencia para un jaba\u00ed difunto"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-5760-2561","authenticated-orcid":false,"family":"Caterina Daniela Mora","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Josefina Zuain","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:40Z","timestamp":1784282320000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2972951\/2972952"}},"issued":{"date-parts":[[2024,8,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2972951","published":{"date-parts":[[2024,8,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:20Z","timestamp":1784283020696,"version":"3.55.0"},"posted":{"date-parts":[[2015,12,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2015,12,10]],"date-time":"2015-12-10T00:00:00Z","timestamp":1449705600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"In the written part of my doctoral dissertation I am presenting the artistic works and set them in a larger context, which I have entitled immanent capitalism. This is an artistic research, where the art works, their processes or workshops produce knowledge, which will not be fully translatable to a written form. The artworks are performances, live-art projects and works on video. In the presentation of the context I am presenting the transformation that has taken place starting from the industrialism and modernism, and which have recently been incorporated with new forms of labour and economy.<\/jats:p>\n keywords: schizoanalysis, non-philosophy, Performance art<\/jats:p>","DOI":"10.22501\/rc.232509","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:53:41Z","timestamp":1498053221000},"source":"Crossref","is-referenced-by-count":0,"title":["Schizoproduction: Artistic Research and Performance in the Context of Immanent Capitalism"],"prefix":"10.22501","author":[{"family":"Tero Nauha","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:01:00Z","timestamp":1784282460000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/232509\/232510"}},"issued":{"date-parts":[[2015,12,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.232509","published":{"date-parts":[[2015,12,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:25Z","timestamp":1784283025361,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,16]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,16]],"date-time":"2023-06-16T00:00:00Z","timestamp":1686873600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This article explores the history of drum machines and their impact on music production. It covers the early developments of drum machines in the 1930s with the Rhythmicon and the Chamberlin Rhythmate. It then discusses the introduction of programmable drum machines like the EKO ComputeRhythm and the Roland CR-78 CompuRhythm. The article highlights the revolutionary impact of the Roland TR-808, known for its distinctive bass drum and clap sounds. Sample-based drum machines, such as the LinnDrum LM-1 and LM-2, are also discussed, along with the pivotal role of the MPC3000 in popularizing sampling and sequencing. The article examines the legacy of drum machines, including the concept of quantization and the unique timing and grooves popularized by J Dilla. It concludes by acknowledging the enduring appeal of physical drum machines in a digital age and the ongoing influence of drum machines on music production.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.2206275","type":"posted-content","created":{"date-parts":[[2023,6,16]],"date-time":"2023-06-16T10:03:24Z","timestamp":1686909804000},"source":"Crossref","is-referenced-by-count":0,"title":["A brief history of the drum machine"],"prefix":"10.22501","author":[{"family":"Hafsteinn Davidsson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:26Z","timestamp":1784282366000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2206275\/2206274"}},"issued":{"date-parts":[[2023,6,16]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2206275","published":{"date-parts":[[2023,6,16]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:42Z","timestamp":1784286402021,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,7,18]],"date-time":"2022-07-18T00:00:00Z","timestamp":1658102400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,18]]},"abstract":"This artistic research compares French and German bow techniques in Tango music. I have been playing for a couple of years with a German bow when I play classical repertoire, and a French bow when I play tango. Considering that Tango has changed and added many things throughout its history, I wanted to investigate why the tradition of playing with a French bow is still extremely strong. So that is why the main question of this work is how to approach Tango music for double bass using a German bow technique? To answer this question I have been studying the method \"The bass in tango\" published by Tango sin fin, that approaches all of the elements from the perspective of the French bow. However, I have studied this using the German bow technique. I have found that you can play Tango with both techniques, but you cannot follow the same instructions to find the same results. This is mainly because of the anatomy of the bow. Additionally, because there is not a strong tradition outside of Argentina of typical orchestras or soloists that play beyond Piazzolla the tradition of playing with a French bow is still strong. After finishing this research, I would like to continue working on this subject through a new repertoire in a personal search to improve my performance as a tango player and then share this knowledge playing concerts or teaching with other double bass players.<\/jats:p>\n keywords: double bass, Tango, bowing technique<\/jats:p>","DOI":"10.22501\/koncon.1520885","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:38:02Z","timestamp":1725907082000},"source":"Crossref","is-referenced-by-count":0,"title":["The German Bow in Tango Music"],"prefix":"10.22501","author":[{"family":"Maria\u00a0Alejandra\u00a0Bejarano\u00a0Salazar","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:34:13Z","timestamp":1784284453000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1520885\/1520886"}},"issued":{"date-parts":[[2022,7,18]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1520885","published":{"date-parts":[[2022,7,18]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:06:44Z","timestamp":1784290004491,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"06","license":[{"start":{"date-parts":[[2018,6,27]],"date-time":"2018-06-27T00:00:00Z","timestamp":1530057600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2018,6,27]]},"abstract":"Long ago, the mice held a council to discuss how to outwit their common enemy, the Cat. The mice knew that the Cat was sly and that she always approached them quietly, and they were frightened by these sudden encounters. After long discussions, one young and enthusiastic mouse raised his hand and proposed: \u201cAll we need is a sign that the Cat is around,\u201d and continued, \u201cLet\u2019s fasten a bell round the neck of the Cat. This way, we\u2019ll be warned by the jingling sound and have enough time to reach our holes before the Cat reaches us.\u201d This proposal was met with cheers, until an old skeptical mouse asked, \u201cBut, who is to bell the Cat?\u201d<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jss.239747","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:57Z","timestamp":1733131557000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial: Designing Our Sonic Lives"],"prefix":"10.22501","author":[{"family":"Vincent Meelberg","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:42:41Z","timestamp":1784288561000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/239747\/239748"}},"issued":{"date-parts":[[2018,6,27]]},"references-count":0,"journal-issue":{"issue":"06"},"URL":"https:\/\/doi.org\/10.22501\/jss.239747","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2018,6,27]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948875,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,25]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T00:00:00Z","timestamp":1771977600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Desktop Documentary ist ein haupts\u00e4chlich in den 2010er Jahren etabliertes filmisches Format, bei dem die Inhalte mittels eines Computerbildschirms, oder auch eines Smartphonedisplays, produziert werden. Der Computerbildschirm wird bei Desktop Documentarys sowohl als \u201aKameraobjektiv\u2018 als auch als \u201aLeinwand\u2018 genutzt, sodass der Prozess der Entstehung der Filme und ihr Potenzial als k\u00fcnstlerisches Medium zum Vorschein kommen. Bei Desktop Documentarys geht es u. a. um eine kritische Reflexion ihrer Produktion und Rezeption. Die Popularit\u00e4t von Bildschirmaufnahmen ist unter anderem darauf zur\u00fcckzuf\u00fchren, dass Computerbildschirme, durch ein immerw\u00e4hrendes Netzwerk audiovisueller Daten, heutzutage zum prim\u00e4ren Modus der allt\u00e4glichen Erfahrung geworden sind. Desktop Documentarys zielen darauf ab, die Erfahrung der Weltwahrnehmung durch den Computerbildschirm zu schildern und sie zugleich zu hinterfragen. Desktop Documentarys stellen ein auf Prozessualit\u00e4t ausgerichtetes Lehr-, Lern- und Pr\u00fcfungsformat dar. Der Leitfaden skizziert exemplarisch die Konzeption und Durchf\u00fchrung eines Maker-Tags (bzw. eines praxisorientierten Blockseminars oder eines Workshops) zum Thema \u201eDesktop Documentary\u201c im Umfang von ca. sechs Semesterwochenstunden (SWS). Die (interdisziplin\u00e4ren) Maker-Tage gehen dem \u201apractice turn\u2018 auf den Grund und regen Studierende zum Nachdenken \u00fcber die Verbindung zwischen Forschung, Theorie und Praxis an. Sie bieten den Studierenden die Gelegenheit, durchs 'Machen', induktiv zu theoretischen (Er-)Kenntnissen zu gelangen, die Relevanz sowohl \u201atheoretischer\u2018 als auch \u201apraktischer\u2018 Ans\u00e4tze wie Ihre Wechselwirkung zu durchdenken und zu praktizieren. Im Rahmen der Maker-Tage geht es unter anderem um die Reflexion ausgew\u00e4hlter Forschungspraktiken als Medien und kulturelle Ph\u00e4nomene und nicht zuletzt um die Erprobung alternativer Lehr-, Lern- und Pr\u00fcfungsformate.<\/jats:p>\n keywords: Desktop Documentary, Praxistheorie, Documentary, Film, Maker Culture, Education, Teaching, Teacher Education, Practice Turn, Research<\/jats:p>","DOI":"10.22501\/rc.4157102","type":"posted-content","created":{"date-parts":[[2026,2,25]],"date-time":"2026-02-25T16:43:01Z","timestamp":1772037781000},"source":"Crossref","is-referenced-by-count":0,"title":["Maker-Tag \"Wie geht Forschen mit ... Desktop Documentary?\" Leitfaden zur Konzeption und Planung"],"prefix":"10.22501","author":[{"family":"Adrianna Hlukhovych","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:08Z","timestamp":1784282228000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4157102\/4157103"}},"issued":{"date-parts":[[2026,2,25]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4157102","published":{"date-parts":[[2026,2,25]]},"subtype":"other"},{"indexed":{"date-parts":[[2022,4,1]],"date-time":"2022-04-01T10:49:36Z","timestamp":1648810176768},"posted":{"date-parts":[[2014,10,12]]},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.22501\/rc.102444","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T17:54:41Z","timestamp":1498067681000},"source":"Crossref","is-referenced-by-count":0,"title":["On the \u2018State\u2019 of Performance art and What It Is"],"prefix":"10.22501","author":[{"family":"Andrea Pagnes","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2017,7,11]],"date-time":"2017-07-11T20:13:47Z","timestamp":1499804027000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/102444\/102445"}},"issued":{"date-parts":[[2014,10,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.102444","published":{"date-parts":[[2014,10,12]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:54:43Z","timestamp":1781538883255,"version":"3.54.5"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0092","type":"journal-article","created":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:00:55Z","timestamp":1781535655000},"source":"Crossref","is-referenced-by-count":0,"title":["Interpreting Michelangelo\u2019s Puzzle: The value of artistic insight and autistic perception in art-historical research"],"prefix":"10.22501","author":[{"given":"Rebecca","family":"Jelbert","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","published-online":{"date-parts":[[2026,6,15]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2026,6,15]],"date-time":"2026-06-15T15:00:55Z","timestamp":1781535655000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/interpreting-michelangelos-puzzle-value-artistic-insight-and-autistic-perception-art-historical"}},"issued":{"date-parts":[[2026,6,15]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0092","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"electronic"}],"published":{"date-parts":[[2026,6,15]]}},{"indexed":{"date-parts":[[2024,9,25]],"date-time":"2024-09-25T04:29:23Z","timestamp":1727238563409},"reference-count":0,"publisher":"Society for Artistic Research","issue":"3","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2019,8,22]]},"abstract":"This research is about how to continue making music through engagement in musical activities with meaningful understandings that the act of music making contributes to lifelong musical growth. The measurement of validation as a musician are based on concepts of FLOW and deal with the combination of musicianship understandings through the philosophies of Zolt\u00e1n Kod\u00e1ly, David J. Elliott, Mihaly Csikszentmihalyi.<\/jats:p>","DOI":"10.22501\/koncon.555599","type":"journal-article","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T14:49:58Z","timestamp":1727189398000},"source":"Crossref","is-referenced-by-count":0,"title":["Music Makers: Growth and Fulfillment in Music Making for Music Educators"],"prefix":"10.22501","author":[{"family":"Isabeau Totterer","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T14:49:59Z","timestamp":1727189399000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/555599\/614605"}},"issued":{"date-parts":[[2019,8,22]]},"references-count":0,"journal-issue":{"issue":"3"},"URL":"https:\/\/doi.org\/10.22501\/koncon.555599","published":{"date-parts":[[2019,8,22]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:10Z","timestamp":1784282950958,"version":"3.55.0"},"posted":{"date-parts":[[2025,3,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,3,4]],"date-time":"2025-03-04T00:00:00Z","timestamp":1741046400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Collective gallery: results of the Midnight Rotating Tree Seminars<\/jats:p>\n keywords: Data visualization, diagram, diagrams<\/jats:p>","DOI":"10.22501\/rc.3015902","type":"posted-content","created":{"date-parts":[[2025,3,4]],"date-time":"2025-03-04T10:48:25Z","timestamp":1741085305000},"source":"Crossref","is-referenced-by-count":0,"title":["The Midnight Rotating Tree"],"prefix":"10.22501","author":[{"family":"Celeste Pedro","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"ORCID":"https:\/\/orcid.org\/0000-0003-2868-7206","authenticated-orcid":false,"family":"Terhi Marttila","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Sofia Santos","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:18Z","timestamp":1784282298000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3015902\/3015903"}},"issued":{"date-parts":[[2025,3,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3015902","published":{"date-parts":[[2025,3,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:56Z","timestamp":1784282996794,"version":"3.55.0"},"posted":{"date-parts":[[2023,9,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,9,14]],"date-time":"2023-09-14T00:00:00Z","timestamp":1694649600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"RAPP Lab was a three-year EU-funded research project supported by the ERASMUS+ programme \"Strategic Partnerships\". RAPP stands for \"Reflection based Artistic Professional Practice\". The project took forward through a series of multi-national encounters described as Labs. RAPP Lab explored how the reflective methodologies of Artistic Research empower musicians to creatively respond to the economic-cultural environment with which they are confronted. The project brought together the Artistic Research expertise of seven partner institutions in six different European states:Association Europ\u00e9enne des Conservatoires \u2013 AEC Bruxelles, BelgiumConservatorio di Musica Santa Cecilia Rome, ItalyEesti Muusika- ja Teatriakadeemia Tallinn, EstoniaHochschule f\u00fcr Musik und Tanz K\u00f6ln, Cologne, Germany (as Coordinator)mdw \u2013 Universit\u00e4t f\u00fcr Musik und darstellende Kunst Wien, Vienna, AustriaNorges musikh\u00f8gskole, NMH Oslo, NorwayOrpheus Instituut Ghent, Belgium<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.1673421","type":"posted-content","created":{"date-parts":[[2023,8,31]],"date-time":"2023-08-31T09:21:36Z","timestamp":1693473696000},"source":"Crossref","is-referenced-by-count":0,"title":["RAPP Lab Outcomes"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-5613-0547","authenticated-orcid":false,"family":"Johannes Kretz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Evelyn Buyken","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Sybille Fraquelli","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ivar Grydeland","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Stella Louise Goeke","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Theodore Parker","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Carla Conti","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:17Z","timestamp":1784282357000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1673421\/2210917"}},"issued":{"date-parts":[[2023,9,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1673421","published":{"date-parts":[[2023,9,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:04Z","timestamp":1784283004580,"version":"3.55.0"},"posted":{"date-parts":[[2021,2,10]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,2,10]],"date-time":"2021-02-10T00:00:00Z","timestamp":1612915200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Attractors cause attraction, collision, repulsion and distraction between different poles of charged energies. Latour makes a metaphor about these attractors in society and politics by defining many layers of interaction between the poles, decades after quantum physics observed strange attractors in chaotic systems of particles. Initial conditions could make a difference in terms of observation of strange attractors in art practices, where artists have the access to continue their own art practice, and who have also faced the art market and non patronage within a competitive society of succession. The proposal observes an isolated artist, connected virtually to the environment, but losing social skills, because of social distancing. Isolation in artists is present here and now in today's societies, with society\u2019s own practices infected by worldwide news, porn, violence, loneliness and a vacuum in daily life routines. What kind of attractors proceed in an artist\u2019s own art practice while in isolation, at home in a shared \u201cWG\u201d(shared flat) , without the resources to develop their own art and without the possibility of success and social empowerment? Which kind of strange attractor could possibly define the steps and procedures of this new generation of artists who don\u2019t feel supported and who feel isolated in their \u201chome\u201d artwork? This paper attempts to observe this idea based on a few cases by comparing interviews with artists isolated by Convid-19 in 2020 in different countries.<\/jats:p>\n keywords: isolation, attractor, artistic research<\/jats:p>","DOI":"10.22501\/rc.1155655","type":"posted-content","created":{"date-parts":[[2021,2,19]],"date-time":"2021-02-19T09:25:33Z","timestamp":1613726733000},"source":"Crossref","is-referenced-by-count":0,"title":["Isolated Attractors- TTT2020- Conference"],"prefix":"10.22501","author":[{"family":"Sergio Patricio","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:19Z","timestamp":1784282419000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1155655\/1155656"}},"issued":{"date-parts":[[2021,2,10]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1155655","published":{"date-parts":[[2021,2,10]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:08:52Z","timestamp":1784282932389,"version":"3.55.0"},"posted":{"date-parts":[[2026,1,12]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,1,12]],"date-time":"2026-01-12T00:00:00Z","timestamp":1768176000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Name Painting is an activity that has the potential to bring people together to test their opinions and tastes in a phenomenological fashion. This research aim to reveal how such an activity can lead to results that can be expressed through poetry. The arts-based research aims to reflect some of the challenges of engaging with the public for participation in a cultural activity, that of Name Painting, but also aims to show some fruitful ways to display the results in the form of poetry. A.I. is also consulted to provide further contrast with the participant and artist-researcher's approaches to name painting. The thematic and content analysis of the study reveals some of the patterns associated with the results in a mixed methods approach.<\/jats:p>\n keywords: Painting, poetry, arts-based research, artificial intelligence, Automatic writing, thematic analysis<\/jats:p>","DOI":"10.22501\/rc.3903502","type":"posted-content","created":{"date-parts":[[2026,1,12]],"date-time":"2026-01-12T14:49:06Z","timestamp":1768229346000},"source":"Crossref","is-referenced-by-count":0,"title":["A Name Painting Exercise: Contrasting Artificial and Human Intelligent Responses"],"prefix":"10.22501","author":[{"family":"KEVIN MICHAEL STEVENSON","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:20Z","timestamp":1784282240000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3903502\/3903501"}},"issued":{"date-parts":[[2026,1,12]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3903502","published":{"date-parts":[[2026,1,12]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:28Z","timestamp":1784286388031,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2022,7,11]],"date-time":"2022-07-11T00:00:00Z","timestamp":1657497600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2022,7,11]]},"abstract":"This research focuses on the compositional process from the point of view of the performer. It examines the extent to which collaborations with composers have an effect on the composition and subsequent performance. More specifically: how do compositions in which you, as an instrumentalist, were involved during the composition process compare to compositions where this was not the case? How does the relationship with the composer contribute to the final performance?<\/jats:p>\n keywords: contemporary music, harp, collaboration<\/jats:p>","DOI":"10.22501\/koncon.1534447","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:38:16Z","timestamp":1725907096000},"source":"Crossref","is-referenced-by-count":0,"title":["How the Degree To Which Instrumentalist and Composer Work Together Affects the Compositional Process, the Composition and the Final Performance"],"prefix":"10.22501","author":[{"family":"Stef Van Vynckt","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:34:56Z","timestamp":1784284496000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1534447\/1534448"}},"issued":{"date-parts":[[2022,7,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1534447","published":{"date-parts":[[2022,7,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:03:57Z","timestamp":1784286237392,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"18","license":[{"start":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T00:00:00Z","timestamp":1561680000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2019,6,28]]},"abstract":"Within a rapidly changing media landscape, light remains an intrinsic and potentially expressive aspect of moving imagery, regardless of the shape, form and resolution that specific capture and display devices might take. The practice of light in moving imagery is typically considered through an arrangement of sources, filters and modifiers that sculpt the aesthetic appearance of a two-dimensional frame and is often studied in relation to mainstream Hollywood films. This practice-research investigation seeks to compliment such discourse by extending the consideration of lighting practices beyond conventional cinematography to an installation context. Through the presentation of several artworks, this exposition reveals a distinction between the light \u2018of\u2019 an image and the light \u2018within\u2019 an image. It also explores the material considerations of a practitioner\u2019s control of projected light. Each artwork seeks to create an interoperation between analogue and digital moving imagery, weaving together various technologies in order to reveal an array of textures and qualities of light. Drawing primarily on autoethnographic notation captured during the creation of these artworks, as well as discussion of a range of film and video texts, this exposition investigates material tensions of mediated illumination.<\/jats:p>\n keywords: moving image, media arts, cinematography, Analog vs digital tools, installation, Video art, video installation, expanded cinema, media archeology<\/jats:p>","DOI":"10.22501\/jar.458012","type":"journal-article","created":{"date-parts":[[2019,6,28]],"date-time":"2019-06-28T04:27:43Z","timestamp":1561696063000},"source":"Crossref","is-referenced-by-count":0,"title":["Passages of Light: Analogue and Digital Moving Image Installation."],"prefix":"10.22501","author":[{"family":"Alexander Nevill","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:01Z","timestamp":1784282941000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/458012\/458013"}},"issued":{"date-parts":[[2019,6,28]]},"references-count":0,"journal-issue":{"issue":"18"},"URL":"https:\/\/doi.org\/10.22501\/jar.458012","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2019,6,28]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:05Z","timestamp":1784286305606,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,9,8]],"date-time":"2025-09-08T00:00:00Z","timestamp":1757289600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,9,8]]},"abstract":"This research explores an interpretative approach to Dialogue de l\u2019ombre double by Pierre Boulez, a key work in the contemporary clarinet repertoire. Motivated by my decision to perform this piece in my final master\u2019s recital, the study goes beyond its technical demands to examine its historical context, Boulez\u2019s compositional style, and the interaction between live clarinet and electronics.The research is structured around four objectives: contextualizing Boulez\u2019s contributions to contemporary music, analyzing the structure of Dialogue de l\u2019ombre double, developing an interpretative framework, and offering technical solutions.Following the introduction, Chapter 1 explores Boulez\u2019s impact on contemporary music, particularly his use of electronics and spatialization. Chapter 2 provides a structural and musical analysis of the work, examining how its elements create a cohesive sonic narrative. Chapter 3 presents interpretative and technical strategies for engaging with the electronic part, focusing on phrasing, articulation, and dynamics. Chapter 4 offers practical solutions for technical challenges, including alternative fingerings and exercises for complex passages.Based on bibliographic research, recordings, discussions with clarinet professors, and personal experimentation, this study highlights how a deeper engagement with the score and Boulez\u2019s stylistic intentions can lead to a more informed and compelling performance.<\/jats:p>\n keywords: electronic music, Clarinet, contemporary music, interpretation, Pierre Boulez<\/jats:p>","DOI":"10.22501\/koncon.2480760","type":"journal-article","created":{"date-parts":[[2025,9,8]],"date-time":"2025-09-08T12:19:56Z","timestamp":1757333996000},"source":"Crossref","is-referenced-by-count":0,"title":["Interpretative Approach of \u2018\u2019Dialogue de l'ombre double\u2018\u2019 by Pierre Boulez"],"prefix":"10.22501","author":[{"family":"Juan Luna","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:22:27Z","timestamp":1784283747000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2480760\/2480761"}},"issued":{"date-parts":[[2025,9,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.2480760","published":{"date-parts":[[2025,9,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:06:32Z","timestamp":1784286392088,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,5,16]],"date-time":"2023-05-16T00:00:00Z","timestamp":1684195200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2023,5,16]]},"abstract":"Research question: \u201cWhat can be learned about the programmatic relationship between Franz Liszt\u2019s B Minor Piano Sonata and its programs?\u201dMy research started as an investigation of the traditional programmatic relationship between Franz Liszt B minor Piano Sonata and Goethe\u2019s Faust, but it had an unexpected outcome: Liszt B minor Sonata can be programmatically connected to multiple programs at the same time. Through the study of symbols behind themes and harmonies used by the composer, connections with other compositions, and the composer\u2019s notes and letters, my research explains why and how the Sonata is programmatically inspired by Goethe\u2019s Faust, Milton\u2019s Paradise Lost and the Bible not only in its structure, but also from a philosophical and spiritual point of view.I propose to look at the Sonata in a different way, considering a more general and Christian \u201cleading thought\u201d which connects all its possible programs and permeates the whole work: Liszt\u2019s Sonata tells the story of every man and his lifetime struggle against temptations and damnation to reach salvation. At the end, I give practical suggestions on the interpretation of specific passages of the Sonata based on the considered symbolic connections with its programs and composer\u2019s notes.The chosen format of presentation is the exposition, because it gives me the possibility not only to include explanatory pictures and score excerpts, but also to use my own recordings to explain better the symbolism of themes or harmonies in certain passages and to show the practical and interpretive outcomes of my research.<\/jats:p>\n keywords: classical music, Art of Interpretation, leading thought, piano, program music, romanticism, Religion, symbolism, Franz Liszt, John Milton, Johann Wolfgang von Goethe, Faust, poetry, 19th century<\/jats:p>","DOI":"10.22501\/koncon.1816062","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:37:20Z","timestamp":1725907040000},"source":"Crossref","is-referenced-by-count":0,"title":["Man's struggle for salvation: A programmatic interpretation of Franz Liszt's B minor Sonata"],"prefix":"10.22501","author":[{"family":"Leone Monaco","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:32:06Z","timestamp":1784284326000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1816062\/1816063"}},"issued":{"date-parts":[[2023,5,16]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.1816062","published":{"date-parts":[[2023,5,16]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:08Z","timestamp":1784282948904,"version":"3.55.0"},"posted":{"date-parts":[[2026,3,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,3,4]],"date-time":"2026-03-04T00:00:00Z","timestamp":1772582400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Walking-with the forest along the Austrian Moravian Thaya, children and artists re-imagine forest fragments as a sensing objectory, tracing gestures through live-responsive drawings while asking how the forest feels. Walking Worlding Words with Forest inquires into resonance not as a human\u2013world relation, but as a more-than-human contact zone through which transversal learnscapes may unfold as speculative ecologies of becoming-with \u2014 of futuring otherwise.<\/jats:p>\n keywords: transversal learnscapes, walking-with, futuring otherwise, Speculative ecology, posthuman feminism, resonance as resistance, environmental emancipation, common world pedagogy, endangered forest worlds<\/jats:p>","DOI":"10.22501\/rc.4152777","type":"posted-content","created":{"date-parts":[[2026,3,4]],"date-time":"2026-03-04T17:49:28Z","timestamp":1772646568000},"source":"Crossref","is-referenced-by-count":0,"title":["Walking Worlding Words with Forest"],"prefix":"10.22501","author":[{"family":"Theresa Sch\u00fctz","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:03Z","timestamp":1784282223000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4152777\/4152778"}},"issued":{"date-parts":[[2026,3,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4152777","published":{"date-parts":[[2026,3,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:51Z","timestamp":1784289831387,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"13","license":[{"start":{"date-parts":[[2020,5,5]],"date-time":"2020-05-05T00:00:00Z","timestamp":1588636800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,5,5]]},"abstract":"This exposition presents, unpacks and discusses the effects of intercultural dialogue and collaboration on the formation of an individual personal artistic identity, through the lens of two musical duets. These artistic research case studies are centred around the author in dialogue with a Brazilian berimbau player and a S\u00e1mi singer, which act as focal points to examine how intercultural dialogue and collaboration can impact on the formation of a personal artistic identity and how the third space emerging from a transcultural dialogue can be a catalyst for new musical discoveries. In addition, I consider the kinds of musical and communication skills that are needed to co-create music in a transcultural context and which kinds of ethical issues arise. The core thread of discussion and argumentation is centred firstly around the idea that by placing oneself in diverse and unknown musical environments and engaging in dialogue, a dynamic third space emerges, which holds within it the opportunity for new elements and approaches to surface and take shape in unexpected ways. And secondly, I propose that searching for points of resonance with the world around us may be crucial in the creation of meaning and the formation of a personal artistic identity. Although the practice of music making is at the core of this research, the work is viewed with a wide-angle lens, acknowledging findings that point to the importance and potential benefits of increasing intercultural dialogue, understanding, collaboration and resonance at all levels of society. Discoveries also emerge within the areas of extended instrumental techniques and an expanded sonic palette for the double bass, as well as the creation of new music. This exposition zooms in on two examples from my complete artistic doctoral project at Sibelius Academy, Uniarts, Helsinki, namely the two sonic conversations for double bass and berimbau, and double bass and S\u00e1mi joik.<\/jats:p>\n keywords: intercultural dialogue, collaboration, co-creation, transcultural, double bass, berimbau, third space, Musical Identity, resonance, artistic identity, S\u00e1mi, S\u00e1mi Joik, hybridity, transculturalism<\/jats:p>","DOI":"10.22501\/ruu.648752","type":"journal-article","created":{"date-parts":[[2020,4,16]],"date-time":"2020-04-16T07:40:42Z","timestamp":1587022842000},"source":"Crossref","is-referenced-by-count":0,"title":["Sonic Conversations for Double Bass, Berimbau and S\u00e1mi Joik: Shaping Identity in the Third Space"],"prefix":"10.22501","author":[{"family":"Nathan Riki Thomson","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:11:46Z","timestamp":1784286706000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/648752\/648753"}},"issued":{"date-parts":[[2020,5,5]]},"references-count":0,"journal-issue":{"issue":"13"},"URL":"https:\/\/doi.org\/10.22501\/ruu.648752","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2020,5,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:05:14Z","timestamp":1784289914262,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"22","license":[{"start":{"date-parts":[[2022,1,19]],"date-time":"2022-01-19T00:00:00Z","timestamp":1642550400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal of Sonic Studies"],"published-print":{"date-parts":[[2022,1,19]]},"abstract":"This article introduces the project \"Sunnyside\", an album and composition created using extended recording techniques inside the domestic space of my home during the initial Covid-19 lockdown in Belfast in 2020. While there was widespread public discourse around the ways in which public and outdoor spaces were changing during the pandemic, there was relatively little discussion concerning the changes occurring in indoor and domestic spaces. \"Sunnyside\" was an attempt to sense, analyze, and represent those changes and examine what they might mean. The following discussion draws on ideas of critical phonography, systems theory, situated knowledge, and interconnectivity to illustrate the project\u2019s refusal of the physical boundaries of the home under lockdown. This critical reflection on everyday routines underscores the project\u2019s relationship with memory, place, and the sonic documentation of everyday personal auditory experiences while opening up a discussion about social networks, both immediate and distributed.<\/jats:p>\n keywords: Sunnyside, Cronica Electr\u00f3nica, field recording, Home, Extended listening<\/jats:p>","DOI":"10.22501\/jss.951575","type":"journal-article","created":{"date-parts":[[2024,12,2]],"date-time":"2024-12-02T09:25:30Z","timestamp":1733131530000},"source":"Crossref","is-referenced-by-count":0,"title":["Multiple Perceptions of the Everyday Unfolded: The Case Study of Sunnyside"],"prefix":"10.22501","author":[{"family":"Matilde Meireles","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal of Sonic Studies"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:34:33Z","timestamp":1784288073000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/951575\/951576\/1545\/1211"}},"issued":{"date-parts":[[2022,1,19]]},"references-count":0,"journal-issue":{"issue":"22"},"URL":"https:\/\/doi.org\/10.22501\/jss.951575","ISSN":["2212-6252"],"issn-type":[{"value":"2212-6252","type":"print"}],"published":{"date-parts":[[2022,1,19]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:05:43Z","timestamp":1784286343725,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2025,9,8]],"date-time":"2025-09-08T00:00:00Z","timestamp":1757289600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2025,9,8]]},"abstract":"This research investigates the active role of light as a core compositional element in contemporary music performance by exploring the integration of light, sound, and movement in real-time environments. Traditionally, light has been treated as a secondary aspect of performance, primarily serving as a means of illumination or visual enhancement. However, this study examines how light can function beyond this conventional role, actively shaping musical structure and influencing perception. Through the analysis of live performances and hands-on experimentation with analogue oscillators, photoresistors, and DMX systems, this research explores how these elements function as both medium and material within a piece. My compositions, alongside works by composers such as Viola Yip and Hugo Morales Murgu\u00eda, serve as case studies, illustrating light\u2019s transformation in performance from a passive visual aid to a structural force. These works highlight how light, when treated as a compositional element, reconfigures performer agency and audience perception. By challenging conventional notions of light in music, this research contributes to ongoing discussions on multimedia composition and performance aesthetics. It proposes an alternative perspective in which light is not merely an accessory to sound but an integral component of musical structure, expanding the possibilities for interdisciplinary performance practice.<\/jats:p>\n keywords: multimedia, light, composition, interdisciplinary<\/jats:p>","DOI":"10.22501\/koncon.3159611","type":"journal-article","created":{"date-parts":[[2025,7,14]],"date-time":"2025-07-14T11:27:34Z","timestamp":1752492454000},"source":"Crossref","is-referenced-by-count":0,"title":["Illuminating Sound"],"prefix":"10.22501","author":[{"family":"Teng Katherine","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:22:20Z","timestamp":1784283740000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3159611\/3159612"}},"issued":{"date-parts":[[2025,9,8]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.3159611","published":{"date-parts":[[2025,9,8]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:06Z","timestamp":1784289846802,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2016,2,5]],"date-time":"2016-02-05T00:00:00Z","timestamp":1454630400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2016,2,5]]},"abstract":"Artistic work is often an essential mode of articulation within artistic research, specifically when practice is understood as both source and target domain of the research. Therefore, within the performing arts, both process and product are essential gestures of artistic research and are indeed \u201cjustified and critical articulations of an interest in knowledge production.\"In this exposition, the format of a lecture performance is investigated and discussed as an explicit articulation through which the process of both artistic work and research is shared, rather than functioning merely as a format for disseminating findings. The format of lecture performance that is investigated here frames the artistic work and theoretical-conceptual framework as two distinct, yet interrelated, processes shared with a conference audience. This includes the deliberate choice for a live performance of artistic work-in-progress, adding a gestural and at times very kinaesthetic aspect to otherwise textually-dominated forms of presentation. The exposition as such has two focuses that are strongly related to each other, approaching the form of a feedback loop: on the one hand, the creation process of a new experimental performance work by Falk H\u00fcbner is investigated. \"Hard Times\" refers to the title of this artistic work: I will carry you over hard times. The performance itself is part of an artistic research into reduction in music, a continuation of the completed PhD research of the author (H\u00fcbner 2014). On the other hand, the lecture performance that employs this artistic work-in-progress as \"material\" as well as the related discussions with conference audiences is also explored. The exposition will demonstrate how these conference discussions strongly inform the work process of the specific artistic work in question and attempt to shed an alternative light on the well-known concept of \"audience talks\", which typically serve to generate feedback and insights into audience perspectives for artists after tryouts or performances of unfinished work. The audiences of conferences are, in most cases, considerably different in nature than \"standard\" audiences, offering the possibility of insightful input on quite different facets of both artistic work and research process\u2013\u2013provoked by the very form of a lecture performance as described above. The exposition suggests that this type of lecture performance, explicitly including the audience at a conference as important source of information, feedback and peer-review, forms a gestural method of artistic research in itself, whose full potential within artistic research is yet to be explored.<\/jats:p>\n keywords: reduction, absence, music, performance, music theater<\/jats:p>","DOI":"10.22501\/ruu.158044","type":"journal-article","created":{"date-parts":[[2017,8,25]],"date-time":"2017-08-25T04:24:18Z","timestamp":1503635058000},"source":"Crossref","is-referenced-by-count":0,"title":["Hard Times. Lecture Performance as Gestural Approach to Develop Artistic Work-in-Progress"],"prefix":"10.22501","author":[{"family":"Falk Hubner","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:19:11Z","timestamp":1784287151000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/158044\/158045"}},"issued":{"date-parts":[[2016,2,5]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/ruu.158044","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2016,2,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:20Z","timestamp":1784282960967,"version":"3.55.0"},"posted":{"date-parts":[[2025,12,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T00:00:00Z","timestamp":1767052800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition is about a school proposal developed in the Master in Teaching of Visual Arts and provides a context which framed the assignment; the pedagogical and political goals of the teacher in its formulation, by wandering through concepts like \u2018individuality\u2019, \u2018collectivity\/common\u2019, \u2018anonymity\u2019 \u2018teacher as intellectual\u2019 and \u2018teacher as artist\u2019; and a snippet of the way it impacts visual arts teachers\u2019 training by showing parts of the experimented case and explaining it in terms of the: dynamics among individuality and collectivity in the definition of the political outcomes in the pedagogical practices; the reconfiguration of the role of the teacher as intellectual and as artist (according to Henry Giroux); and the quest for new forms of visibility and sharing of teachers\u2019 and students\u2019 work, throwing it into the public sphere, in particular by resorting to the \u2018exhibition\u2019 as a strategy\/tool for that purpose. The exhibition will assume a core role commanding the outcomes of the work. The authors all took part in the proposal, two as Master students and teachers in training, and the other as teacher (of the AIPD2 - Activities for Initiation into Teaching Practice II - in the Master of Teaching of Visual Arts).<\/jats:p>\n keywords: arts education; exhibition; teacher as artist; teacher as cultural worker; teacher as intellectual<\/jats:p>","DOI":"10.22501\/rc.4048776","type":"posted-content","created":{"date-parts":[[2025,12,30]],"date-time":"2025-12-30T12:19:03Z","timestamp":1767097143000},"source":"Crossref","is-referenced-by-count":0,"title":["BRIDGING THE GAP BY FILLING THE GAP"],"prefix":"10.22501","author":[{"family":"Joana Melo Rocha","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Carolina Sousa","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Catarina Almeida","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:24Z","timestamp":1784282244000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4048776\/4048777"}},"issued":{"date-parts":[[2025,12,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4048776","published":{"date-parts":[[2025,12,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:27Z","timestamp":1784282967801,"version":"3.55.0"},"posted":{"date-parts":[[2025,4,2]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,2]],"date-time":"2025-04-02T00:00:00Z","timestamp":1743552000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"\u201cVulgarization\u201d initially appears as a word of interest in the 19th century. There arises a new adoption mode of holy books, literature and comprehension of vulgarity at this point: an unfinished project even for the philosopher or the scientist who has to coexist partially with fellow humans in the \u201cworld\u201d, the vulgus. It is the scientist\u2019s reduction of scientific findings and calculations to address public conscience, which does not necessarily intend to \u201cenlighten societies\u201d.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3545875","type":"posted-content","created":{"date-parts":[[2025,4,2]],"date-time":"2025-04-02T17:13:21Z","timestamp":1743614001000},"source":"Crossref","is-referenced-by-count":0,"title":["Vulgarization"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0002-9267-2738","authenticated-orcid":false,"family":"Tolga Theo Yalur","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:12Z","timestamp":1784282292000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3545875\/3545874"}},"issued":{"date-parts":[[2025,4,2]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3545875","published":{"date-parts":[[2025,4,2]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:30Z","timestamp":1784282970496,"version":"3.55.0"},"posted":{"date-parts":[[2026,2,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T00:00:00Z","timestamp":1772236800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This contribution examines the use of polluting substances as primary material within a contemporary artistic practice oriented toward ecological documentation and reflection on the Anthropocene. Through processes of solidification, stratification, and fossilization, the artist transforms chemical residues, contaminated waters, and degraded organic fragments into aesthetic devices capable of rendering the materiality of pollution visible. The resulting work takes the form of an ecological archive, a repertoire of toxic traces, and a model for post\u2011natural investigation.<\/jats:p>\n keywords: art, artwork, artistic research, Contemporary art, Giusirames<\/jats:p>","DOI":"10.22501\/rc.4198901","type":"posted-content","created":{"date-parts":[[2026,2,28]],"date-time":"2026-02-28T12:18:05Z","timestamp":1772281085000},"source":"Crossref","is-referenced-by-count":0,"title":["SCREAM FROM NATURE"],"prefix":"10.22501","author":[{"family":"Giusirames","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:05Z","timestamp":1784282225000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4198901\/4198900"}},"issued":{"date-parts":[[2026,2,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.4198901","published":{"date-parts":[[2026,2,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:53Z","timestamp":1784282993729,"version":"3.55.0"},"posted":{"date-parts":[[2021,12,7]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2021,12,7]],"date-time":"2021-12-07T00:00:00Z","timestamp":1638835200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The PentaPuzzle has the user placing objects of different shapes into openings in a pentagon shaped puzzlebox. The different objects only fit into certain spots on the box. If all the objects are fitted into the correct place, the light inside will turn on and shine through the top of the stylized box, casting a pattern of shadows onto the surrounding environment. This gives the user the satisfaction on making objects fit through openings, while also giving a sense of accomplishment and a visual reward for completing the puzzle.The primary qualities of the puzzlebox is it\u2019s pentagonical shape, it's many slots to put objects into and how it lights up when all it's conditions are fullfilled. Throughout the user's experience, it will take advantage of the user\u2019s sense of feeling and sight.To improve the product in the future, i would use a better light-source in order to make the light more apparent. I would also use magnets in order to give the shapes a better tactile feeling as the user inserts them into the box.<\/jats:p>\n keywords: Puzzlebox, light, Puzzle<\/jats:p>","DOI":"10.22501\/rc.1369439","type":"posted-content","created":{"date-parts":[[2021,12,7]],"date-time":"2021-12-07T05:28:06Z","timestamp":1638854886000},"source":"Crossref","is-referenced-by-count":0,"title":["The PentaPuzzle"],"prefix":"10.22501","author":[{"family":"Kristoffer Borgen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:57Z","timestamp":1784282397000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1369439\/1369438"}},"issued":{"date-parts":[[2021,12,7]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1369439","published":{"date-parts":[[2021,12,7]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:08:06Z","timestamp":1784290086308,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2021,12,2]],"date-time":"2021-12-02T00:00:00Z","timestamp":1638403200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["KMD-AR"],"published-print":{"date-parts":[[2021,12,2]]},"abstract":"'Playing the Electrophonic Saxophone' explores the expanded role of the instrument and relations made possible by such expansions. In and through artistic practice I research the many processes, tensions, and artistic possibilities that emerge through interplay. How can exploring possibilities and conditions for the acoustic saxophone in interplay with electric and electronic tools and sounds pave the way for new music, new insights, and expand the conception of what the instrument can be? How can playing with electrically and digitally manipulated sound facilitate the instrument\u2019s ability to connect to musicians and artists from other fields of practice? The research\u2019s main artistic outcome is the sum of a series of artistic projects presented in this exposition. The two texts Playing Air and Playing Parasitic constitute the ethical and methodological basis for the research and my practice and transfers to the projects\u2019 two basic elements: roles and their relations. The band M\u00f8ster! acts as the main project ensemble, and the PhD research is finalized with a public artistic presentation at the Nattjazz Festival, R\u00f8keriet USF, Bergen on June 1st, 2021.'Playing the Electrophonic Saxophone' utforsker instrumentets utvidete rolle, og relasjoner som en slik utvidelse \u00e5pner for. I og gjennom kunstnerisk praksis forsker jeg p\u00e5 de mange prosesser, spenninger, og kunstneriske potensial som vokser frem gjennom samspill. Hvordan kan utforskning av muligheter og premisser for akustisk saksofonspill i samspill med elektriske og elektroniske verkt\u00f8y og lyder lede til ny musikk, ny innsikt, og utvide forst\u00e5elsen av hva instrumentet kan v\u00e6re? Hvordan kan det \u00e5 spille med elektrisk og digitalt manipulert lyd legge til rette for samhandling med musikere og artister fra andre kunstneriske felt, med ulike kunstneriske praksiser? Forskningens kunstneriske resultat er presentert som en samling prosjekter i denne eksposisjonen. De to tekstene 'Playing Air' og 'Playing Parasitic' utgj\u00f8r det metodologiske og etiske grunnlaget for forskningen og min praksis, og kan leses inn i forskningens to hovedelementer: roller, og deres relasjoner. Bandet M\u00f8ster! fungerer som hoved-ensemble, og PhD-prosjektet ble avsluttet med en offentlig konsertfremf\u00f8ring p\u00e5 Nattjazz, R\u00f8keriet USF i Bergen, 1. juni 2021.<\/jats:p>\n keywords: interplay, jazz, saxophone, improvisation, electronics, KMD_PhD<\/jats:p>","DOI":"10.22501\/kmd-ar.1160461","type":"journal-article","created":{"date-parts":[[2023,5,22]],"date-time":"2023-05-22T09:19:25Z","timestamp":1684747165000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing the Electrophonic Saxophone"],"prefix":"10.22501","author":[{"family":"Kjetil Traavik M\u00f8ster","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["KMD Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:58:38Z","timestamp":1784289518000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1160461\/1165430"}},"issued":{"date-parts":[[2021,12,2]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/kmd-ar.1160461","published":{"date-parts":[[2021,12,2]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:06Z","timestamp":1784369106270,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T00:00:00Z","timestamp":1703116800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["HUB"],"published-print":{"date-parts":[[2023,12,21]]},"abstract":"For this edition, we shared questions with the authors based on the strategies and ways of visualizing distance in artistic practice. We asked, after all, how we can understand the aesthetics of DISTANCE, including new narrative and visual devices, to reveal something inevitable or ineffable.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/hub.2450080","type":"journal-article","created":{"date-parts":[[2023,12,21]],"date-time":"2023-12-21T07:08:58Z","timestamp":1703142538000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial"],"prefix":"10.22501","author":[{"family":"Fabr\u00edcio Fava","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Pedro Amado","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Orlando Vieira Francisco","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Filipa Cruz","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Maria Manuela Bronze da Rocha","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["HUB - Journal of Research in Art, Design and Society"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:24:42Z","timestamp":1784366682000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2450080\/2450081"}},"issued":{"date-parts":[[2023,12,21]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/hub.2450080","ISSN":["2975-9250"],"issn-type":[{"value":"2975-9250","type":"print"}],"published":{"date-parts":[[2023,12,21]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:27Z","timestamp":1784365887963,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,9,2]],"date-time":"2024-09-02T00:00:00Z","timestamp":1725235200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2024,9,2]]},"abstract":"This exposition is a copy of Ivar Grydeland's artistic research fellowship project (2011-2015) at The Norwegian Academy of Music, financed by The Norwegian Artistic Research Fellowship Programme. The exposition was redesigned within The Research Catalogue in 2024. The content is identical to the original documentation.________________________Ensemble & Ensemble of Me is an artistic research fellowship project carried out at the Norwegian Academy of Music, as part of The Norwegian Artistic Research Fellowship Programme between 2011 and 2015. In this project I produced solo improvisations deriving from the music of two improvising ensembles to which I belong: Dans les arbres and Huntsville, and I produced collective improvisations with the ensembles. The project\u2019s key questions:- What are my concepts when improvising with the ensembles and when improvising alone? - How do the ensemble improvisations inform my solo improvisations? - What do I think about when I think about our and my own improvisations?The Haruki Murakami-paraphrase in the sub-heading indicates a process of on-going reflection upon what I regard as key aspects when I improvise. More specifically, what I regard as key aspects in the music of Dans les arbres and Huntsville, as well as for my own solo improvisations. These reflections reveal key aspects and main challenges that emerged during my attempts to create solo works informed by the ensembles. The reflections are chiefly documented in the form of a personal encyclopaedia. The encyclopaedia includes audio and visual examples, both from the final artistic results and from artistic activity during the project.<\/jats:p>\n keywords: improvisation, Ensemble, Chamber music, contemporary music, electronic music, solo improvisation, ensemble improvisation<\/jats:p>","DOI":"10.22501\/nmh-ar.2255877","type":"journal-article","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T11:35:17Z","timestamp":1725536117000},"source":"Crossref","is-referenced-by-count":0,"title":["Ensemble &amp; Ensemble of Me \u2013 What I Think About When I Think About Improvisation"],"prefix":"10.22501","author":[{"family":"Ivar Grydeland","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:00:51Z","timestamp":1784365251000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2255877\/2255878"}},"issued":{"date-parts":[[2024,9,2]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2255877","published":{"date-parts":[[2024,9,2]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:02Z","timestamp":1784286242182,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2019,4,29]],"date-time":"2019-04-29T00:00:00Z","timestamp":1556496000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2019,4,29]]},"abstract":"Using the research project eMotion \u2013 mapping museum experience as a working example, the exposition examines the advantages and risks, challenges and hurdles, methods and management of projects based on transdisciplinary art research. On the one hand, analysis shows that the participating researchers\u2019 embedded character, in their respective disciplines, requires a specific management in order to increase the formation of group identity and to get used to collective authorship. On the other, it underlines that transdisciplinary research does more than simply shed light on the investigated object from several perspectives. Rather, the integration of the arts can lead to a new epistemology via different forms of data displays such as sonification and image-producing processes, which in turn create a new aesthetic dimension.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.12219","type":"journal-article","created":{"date-parts":[[2017,6,20]],"date-time":"2017-06-20T18:36:57Z","timestamp":1497983817000},"source":"Crossref","is-referenced-by-count":0,"title":["The Entanglement of Arts and Sciences. On the Transaction Costs of Transdisciplinary Research Settings"],"prefix":"10.22501","author":[{"family":"Martin Tr\u00f6ndle","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:22Z","timestamp":1784282962000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/12219\/12220"}},"issued":{"date-parts":[[2019,4,29]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/jar.12219","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2019,4,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:11Z","timestamp":1784286251346,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"12","license":[{"start":{"date-parts":[[2017,1,6]],"date-time":"2017-01-06T00:00:00Z","timestamp":1483660800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2017,1,6]]},"abstract":"This exposition focuses on our current artistic project, cONcErn, which aspires to be both an investigation of the milieu of art and the creation of a milieu for art and through art. Concretely, the project revolves around a host space for artworks that for logistical reasons (transport, storage, etc.) are at risk of destruction, disposal, or abandonment. We begin by giving an account of our preceding artistic research from which the project emerged. Thereafter we discuss the conceptual framework of cONcErn, in particular its alignment with our understanding of the environment as an eco-techno-symbolic system. In this context, we explain our rationale for adhering to the rather unusual term 'mesology' and explore key notions, such as diversity and visibility, which inform the project on a theoretical and practical level. Finally, we provide a snapshot of the initial activities and practical experiences that cONcErn has so far engendered.<\/jats:p>\n keywords: mesology, host spaces, parasite, conceptual art, artwork storage<\/jats:p>","DOI":"10.22501\/jar.271021","type":"journal-article","created":{"date-parts":[[2017,2,28]],"date-time":"2017-02-28T06:34:21Z","timestamp":1488263661000},"source":"Crossref","is-referenced-by-count":0,"title":["cONcErn: towards a 'mesology' of art, for art, and through art"],"prefix":"10.22501","author":[{"family":"C\u00e9cile Colle","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ralf Nuhn","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:12:40Z","timestamp":1784283160000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/271021\/271022"}},"issued":{"date-parts":[[2017,1,6]]},"references-count":0,"journal-issue":{"issue":"12"},"URL":"https:\/\/doi.org\/10.22501\/jar.271021","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2017,1,6]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:04:55Z","timestamp":1784286295276,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"2","license":[{"start":{"date-parts":[[2012,11,5]],"date-time":"2012-11-05T00:00:00Z","timestamp":1352073600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Journal for Artistic Research"],"published-print":{"date-parts":[[2012,11,5]]},"abstract":"Between 2009 and 2012 I made several visits to Italy to study at the Royal Dutch Institute in Rome, as well as to carry out historical field research in Pompeii, Herculaneum, Rome and Cerveteri. These trips were designed to provide material for writing several essays and developing an installation based on the classical atrium house. Based on historical study and by way of the ancient Roman concept of genius loci, the spirit of place, my reflections on the quality and characteristics of place has led me to the tombs of Rome and Cerveteri and the dwellings of Pompeii. The various differences and interconnections between these two ancient sites of life and death as two extremes have been essential to my research. In this exposition I report on my artistic research.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/jar.28644","type":"journal-article","created":{"date-parts":[[2017,4,17]],"date-time":"2017-04-17T04:48:40Z","timestamp":1492404520000},"source":"Crossref","is-referenced-by-count":0,"title":["Crossing: Between the Italic Domus and the Artistic Environment"],"prefix":"10.22501","author":[{"family":"Krien Clevis","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Journal for Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:18:18Z","timestamp":1784283498000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/28644\/28645"}},"issued":{"date-parts":[[2012,11,5]]},"references-count":0,"journal-issue":{"issue":"2"},"URL":"https:\/\/doi.org\/10.22501\/jar.28644","ISSN":["2235-0225"],"issn-type":[{"value":"2235-0225","type":"print"}],"published":{"date-parts":[[2012,11,5]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:07:36Z","timestamp":1784286456225,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2017,9,11]],"date-time":"2017-09-11T00:00:00Z","timestamp":1505088000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2017,9,11]]},"abstract":"Name: Gregor De\u0161manMain Subject: Classical PianoResearch Supervisor: Anna ScottTitle of Research: Adapting Live Classical Music Performance for Different VenuesResearch Question: In what ways can a musician adjust his or her performance approach by taking into account the characteristics of a specific type of venue?Summary of Results: Each performance is unique, and depends on many factors including a performer\u2019s physical and psychological condition, their connection to the repertoire, and most importantly, the conditions presented by a given venue. In this research project I have concentrated primarily on the latter, and have sought to determine the particular challenges and possibilities presented by varying types of venues, and how such knowledge can be used to guide the conscious decisions performers make in order to adapt their performances accordingly. My methodology first involved carrying out background research, using relevant academic literature as well as my own experiences as a pianist. By focusing on three types of venues (concert halls, music clubs, and private homes), I was then able to compile a list of the advantages and challenges presented by each type of performance space. From this list I then prepared three different interpretations of Ferruccio Busoni's transcription of the Chaconne from J. S. Bach's Partita in D Minor, with each interpretation being specially adapted to the limitatons and possibilities presented by each of the three venue types. I then tested each interpretation by performing it in its respective venue, the results of which I documented via audio and video recordings. I was then able to analyse the effectiveness of my venue-specific interpretative decisions in these recordings, after which I compiled a table that can function as a guide for adjusting one's performances to specific venues. By carrying out this research project, I have found that in order to better communicate with their audiences, musicians can and should adjust their performances to specific types of venues. While musicians make many smaller adjustments instinctively, as related to voicing or phrasing for example, learning the logic and mechanics behind such modifications emboldens one to make larger changes as related to tempo and even character \u2013 an interpretive flexibility towards which all musicians should strive.Biography: Pianist Gregor De\u0161man studies with Prof. Naum Grubert at the Royal Conservatory of The Hague. He completed postgraduate studies with Prof. Ruben Dalibaltayan in Zagreb and graduate studies in Ljubljana with Prof. Hinko Haas. Gregor has successfully competed in many international competitions and as a soloist has performed with the Ljubljana Opera and Ballet Orchestra and with the Slovenian Philharmonic Orchestra. Gregor performs across Europe with internationally successful musicians such as Tibor Molnar and Joachim Eijlander, and with the GUD Piano Trio, who have an international career and have studied with Prof. Toma\u017e Lorenz and Trio di Parma in Duino, Italy.<\/jats:p>\n keywords: performance venues, acoustics, Partita in D Minor, Johann Sebastian Bach<\/jats:p>","DOI":"10.22501\/koncon.235730","type":"journal-article","created":{"date-parts":[[2024,9,9]],"date-time":"2024-09-09T18:45:53Z","timestamp":1725907553000},"source":"Crossref","is-referenced-by-count":0,"title":["Adapting live classical music performance for different venues"],"prefix":"10.22501","author":[{"family":"Gregor Desman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:50:46Z","timestamp":1784285446000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/235730\/235731"}},"issued":{"date-parts":[[2017,9,11]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.235730","published":{"date-parts":[[2017,9,11]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:54Z","timestamp":1784282994715,"version":"3.55.0"},"posted":{"date-parts":[[2023,10,20]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T00:00:00Z","timestamp":1697760000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition provides some indication of the content of an exhibition at Lugar do Desenho \u2013 J\u00falio Resende Foundation between 23 September and 28 October, 2023. Several artistic research projects have been explored by the author through drawing and writing between 2021 and 2023 while resident in Porto, Portugal. The projects have each been hosted by i2ADS (Institute of Art and Design Society) as part of a larger collaborative research project called 'The Observation of Perception', considered through Drawing. Two of the projects, or one project divided into two parts, are specifically a contribution to a genetic ancestry project \u2013 \u2018Call for drawing \u2013 Genetics and Identity\u2019 \u2013 hosted by i3S (Institute of Investigation and Innovation of Health), Porto University. The main formatting of all of the projects has been the Research Catalogue, in which the visual works that now comprise the exhibition have previously been placed in a multiple media context as artistic research.<\/jats:p>\n keywords: drawing, perception, process, artistic research, ancestry, exhibition, monologue<\/jats:p>","DOI":"10.22501\/rc.2343141","type":"posted-content","created":{"date-parts":[[2023,10,20]],"date-time":"2023-10-20T04:51:33Z","timestamp":1697777493000},"source":"Crossref","is-referenced-by-count":0,"title":["Observations of: The Observation of Perception, considered through Drawing"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:12Z","timestamp":1784282352000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2343141\/2343142"}},"issued":{"date-parts":[[2023,10,20]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2343141","published":{"date-parts":[[2023,10,20]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:47Z","timestamp":1784283047767,"version":"3.55.0"},"posted":{"date-parts":[[2016,4,14]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2016,4,14]],"date-time":"2016-04-14T00:00:00Z","timestamp":1460592000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This is a text concerning artistic processes. It has a starting point in a project where I am making a portrait of a colleague artist while he is making mine. During the making of this portrait and thereafter I question my ways of working in which I occasionally find myself confronted with artistic blocks. In a period of two and a half years I investigate and articulate my artistic process as it meanders and expends over the different attitudes and problems I encounter in my work. I give a critical analysis of my motives and working methods and try to extend the range of possible ways of working. This text can be read as an extension of my previous text \"Rationality, Intuition and Emotion, exploring an artistic process\" that is published in the Journal for Artistic Research, JAR 3.<\/jats:p>\n keywords: portraiture, Sculpture, drawing, artistic blocks, process orientated, artistic processes<\/jats:p>","DOI":"10.22501\/rc.50379","type":"posted-content","created":{"date-parts":[[2017,6,21]],"date-time":"2017-06-21T13:53:25Z","timestamp":1498053205000},"source":"Crossref","is-referenced-by-count":0,"title":["About exchanging a portrait \u2022"],"prefix":"10.22501","author":[{"family":"Gert Germeraad","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:58Z","timestamp":1784282458000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/50379\/50380"}},"issued":{"date-parts":[[2016,4,14]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.50379","published":{"date-parts":[[2016,4,14]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:05Z","timestamp":1784283005538,"version":"3.55.0"},"posted":{"date-parts":[[2023,4,18]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,18]],"date-time":"2023-04-18T00:00:00Z","timestamp":1681776000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Exposition of PhD in playwrighting for PhD fellow at Oslo National Academy of the arts, Tale N\u00e6ss.<\/jats:p>\n keywords: playwrighting, theatre, immersive audio installation<\/jats:p>","DOI":"10.22501\/rc.968101","type":"posted-content","created":{"date-parts":[[2023,4,18]],"date-time":"2023-04-18T08:22:30Z","timestamp":1681806150000},"source":"Crossref","is-referenced-by-count":0,"title":["1:100 - the hybrid reflective text and the metalogue"],"prefix":"10.22501","author":[{"family":"Tale N\u00e6ss Lysest\u00f8l","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:37Z","timestamp":1784282377000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/968101\/968102"}},"issued":{"date-parts":[[2023,4,18]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.968101","published":{"date-parts":[[2023,4,18]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:40Z","timestamp":1784282980148,"version":"3.55.0"},"posted":{"date-parts":[[2023,4,13]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,4,13]],"date-time":"2023-04-13T00:00:00Z","timestamp":1681344000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Audio clips to a paper submitted to TENOR BOSTON 2023 conference.<\/jats:p>\n keywords: improvised music, live composition<\/jats:p>","DOI":"10.22501\/rc.2008271","type":"posted-content","created":{"date-parts":[[2023,4,13]],"date-time":"2023-04-13T08:01:48Z","timestamp":1681372908000},"source":"Crossref","is-referenced-by-count":0,"title":["Collaborative Live Composition with Frankie (audio clips)"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-3470-4332","authenticated-orcid":false,"family":"Esa Onttonen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:38Z","timestamp":1784282378000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2008271\/2008272"}},"issued":{"date-parts":[[2023,4,13]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2008271","published":{"date-parts":[[2023,4,13]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:48Z","timestamp":1784282988099,"version":"3.55.0"},"posted":{"date-parts":[[2020,1,30]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2020,1,30]],"date-time":"2020-01-30T00:00:00Z","timestamp":1580342400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This exposition sets the scene for my PhD thesis, in that it acts as a bridge between my experiments in Deep Canine Topography, (O\u2019Brien, 2018) and my current research inquiry. Routed in the practice of walking art, and operating on the intersection between art, human geography and critical animal studies, this practice-based research is underpinned by concepts of the \u2018animal turn\u2019 in post-human, more than human, philosophy. It presents a number of short texts, which consider aspects of the human-canine co-authored walk, which will form a practice based methodology 'The Walkies as Method'. Accompanying this text is a number of short video and sound works, exploring the twists, turns and rhythms of the walkies, from the human-canine perspective.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.762918","type":"posted-content","created":{"date-parts":[[2020,1,30]],"date-time":"2020-01-30T05:11:01Z","timestamp":1580361061000},"source":"Crossref","is-referenced-by-count":0,"title":["The Walkies as Method:"],"prefix":"10.22501","author":[{"family":"Darren O'Brien","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:00:36Z","timestamp":1784282436000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/762918\/762919"}},"issued":{"date-parts":[[2020,1,30]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.762918","published":{"date-parts":[[2020,1,30]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:01Z","timestamp":1784283001202,"version":"3.55.0"},"posted":{"date-parts":[[2025,8,17]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,8,17]],"date-time":"2025-08-17T00:00:00Z","timestamp":1755388800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This page gives a first impression of the content, functionality and design of the upcoming online publication \u2018Sonic Inspiration Guide\u2019. The guide will be published in Dutch in October 2025 and in English shortly after to make it available to an international audience.<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/rc.3335922","type":"posted-content","created":{"date-parts":[[2025,1,14]],"date-time":"2025-01-14T16:24:06Z","timestamp":1736871846000},"source":"Crossref","is-referenced-by-count":0,"title":["Sample page Sonic Inspiration Guide"],"prefix":"10.22501","author":[{"family":"Michiel M. S. Huijsman","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:57:59Z","timestamp":1784282279000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3335922\/3669913"}},"issued":{"date-parts":[[2025,8,17]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3335922","published":{"date-parts":[[2025,8,17]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:32Z","timestamp":1784289812938,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2020,6,15]],"date-time":"2020-06-15T00:00:00Z","timestamp":1592179200000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2020,6,15]]},"abstract":"This exposition relates Claude-L\u00e9vi Strauss' concept of bricolage with two examples of the author's artistic praxis, with the aim that the subjective case studies will contribute to highlight a more general methodological standpoint of contemporary artistic creation, namely: the artistic work as a dialogical, enactive process where the discussion with the artistic material takes a guiding role. The proposal intends to resituate a classic concept from structuralist anthropology, which I find strikingly useful for analysing contemporary intermedia artistic processes and works. The exposition discusses the philosophical implications of a practice that abandons itself to an unforeseen, dialogical relationship with the environment. The oeuvre then becomes an ecological process of using what is offered by the situation, in a constant discussion with the environment. Ideas, forms and materials are engendered, lost and transformed in a dynamic process that resembles a sort of artistic aikido. The ecological strand of the discussion on bricolage leads to Anna Tsing's \"Mushroom at the End of the World\" and Timothy Morton\u2019s \u201cDark Ecology\u201d, where the concept of Nature and the value of naturalness are abolished in favour of a flat relationship between human and her environment: an ecological system between different manifestations of being, where human-made phenomena are not regarded as extra-natural. An artistic practice of bricolage finds a favourable breeding-ground in such a conceptual context.<\/jats:p>\n keywords: Bricolage, materiality, ecology, sound art, music, Bricolage, materiality, ecology, sound art, music<\/jats:p>","DOI":"10.22501\/ruu.695585","type":"journal-article","created":{"date-parts":[[2020,6,7]],"date-time":"2020-06-07T23:31:10Z","timestamp":1591572670000},"source":"Crossref","is-referenced-by-count":0,"title":["Matter Dialogues"],"prefix":"10.22501","author":[{"family":"Otso Tapio Aavanranta","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:10:03Z","timestamp":1784286603000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/695585\/695586"}},"issued":{"date-parts":[[2020,6,15]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/ruu.695585","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2020,6,15]]}},{"indexed":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:40:07Z","timestamp":1742294407065,"version":"3.40.1"},"reference-count":0,"publisher":"Society for Artistic Research","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JAR"],"DOI":"10.22501\/jarnet.0006","type":"journal-article","created":{"date-parts":[[2018,9,27]],"date-time":"2018-09-27T15:23:14Z","timestamp":1538061794000},"source":"Crossref","is-referenced-by-count":0,"title":["Digital Art. Cub@"],"prefix":"10.22501","author":[{"given":"Yara","family":"Guasque","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","published-online":{"date-parts":[[2017,4,27]]},"container-title":["Journal for Artistic Research"],"deposited":{"date-parts":[[2025,3,18]],"date-time":"2025-03-18T10:02:47Z","timestamp":1742292167000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/jar-online.net\/en\/digital-art-cub"}},"issued":{"date-parts":[[2017,4,27]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/jarnet.0006","ISSN":["2235-0225"],"issn-type":[{"type":"electronic","value":"2235-0225"}],"published":{"date-parts":[[2017,4,27]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:49Z","timestamp":1784369089170,"version":"3.55.0"},"posted":{"date-parts":[[2023,6,9]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,6,9]],"date-time":"2023-06-09T00:00:00Z","timestamp":1686268800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This paper examines the possible impacts of artificial intelligence (AI) on the ever-changing role of graphic designers. As its main contribution, the paper proposes a model based on the intertwining concepts of deduction, induction, and abduction. It argues that deductive and inductive tasks in graphic design can be effectively and advantageously outsourced to AI, while abductive tasks are still best performed by human graphic designers. Additionally, the power balance between humans and AI is discussed, concluding that human graphic designers must play a pivotal role in initiating and critically evaluating the results of any collaboration with AI tools. The model introduces the metaphorical notion of a \"disciplinary expertise filter,\" which serves as a professional quality assurance for AI-based automation and augmentation in the design process. The distinction between \"black box\" and \"clear box\" AI systems is briefly discussed to provide a more nuanced understanding of AI as being \"a magic tool\" for graphic designers. Lastly, the paper presents six perspectives derived from the model, aiming to foster informed discussions and encourage critical reflections among graphic designers regarding their future role in the era of AI.<\/jats:p>\n keywords: graphic design, visual communication design, Artificial Intelligence (AI), abduction, induction, deduction<\/jats:p>","DOI":"10.22501\/hub.2156238","type":"posted-content","created":{"date-parts":[[2023,6,21]],"date-time":"2023-06-21T10:48:09Z","timestamp":1687344489000},"source":"Crossref","is-referenced-by-count":0,"title":["A Model for Understanding the Evolving Role of Graphic Designers in the Era of Artificial Intelligence"],"prefix":"10.22501","author":[{"family":"Stig M\u00f8ller Hansen","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:59Z","timestamp":1784366459000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2156238\/2156237"}},"issued":{"date-parts":[[2023,6,9]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/hub.2156238","published":{"date-parts":[[2023,6,9]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:04:46Z","timestamp":1784289886869,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"5","license":[{"start":{"date-parts":[[2023,6,27]],"date-time":"2023-06-27T00:00:00Z","timestamp":1687824000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["reposition"],"published-print":{"date-parts":[[2023,6,27]]},"abstract":"The publication Envelope offers insights into ongoing PhD projects by candidates in the PhD programme PhD in Art at the University of Applied Arts Vienna in an innovative format. The major thrust of \u201cEnvelope\u201d presents content supplied by doctoral researchers based on their individual artistic research and provides insights into ongoing work processes. These visual and textual traces reveal the state of the Art within its ongoing research processes. This open format seeks to reflect on experiences through exchange, as well as document relevant developments in the field of art and research.Participating projects:Margit Busch: A garden for a fish (Supervisor: Virgil Widrich)Andrew Champlin: Technique Concerns: Ballet Practice Against the Western Archive (Supervisors: Ruth Anderwald + Leonhard Grond)George Demir: Ancestral Junctures: on the expansion of ancestral mythologies (Supervisor: Hans Schabus)Cristiana de Marchi: Casting a shadow. On disappearance, emptiness and the haunting power of absence (Supervisor: Judith Eisler)Jo\u0161t Franko: The Migrating Image (Supervisor: Gerhild Steinbuch)Barbara Graf: Stitches and Sutures (Supervisor: Barbara Putz-Plecko)Joseph Leung: Post-digital Angst \u2013 An Arts-Based Research on the Manifestations of Angst in the Digital Milieu (Supervisor: Gabriele Rothemann)Conny Zenk: RAD Performance \u2013 Driving Voices of Resistance (Supervisor: Ruth Schnell)Feel free to zoom in on each poster for ensured readability.<\/jats:p>\n keywords: University of Applied Arts Vienna, PhD Artistic Research, artistic research<\/jats:p>","DOI":"10.22501\/envelo.2217962","type":"journal-article","created":{"date-parts":[[2024,4,25]],"date-time":"2024-04-25T18:07:21Z","timestamp":1714068441000},"source":"Crossref","is-referenced-by-count":0,"title":["Editorial ART RESEARCH ENVELOPE #5"],"prefix":"10.22501","author":[{"family":"Alexander Damianisch","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Ruth Anderwald","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]},{"family":"Leonhard Grond","sequence":"additional","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Reposition"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:25:07Z","timestamp":1784287507000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2217962\/2217963"}},"issued":{"date-parts":[[2023,6,27]]},"references-count":0,"journal-issue":{"issue":"5"},"URL":"https:\/\/doi.org\/10.22501\/envelo.2217962","ISSN":["2960-4362"],"issn-type":[{"value":"2960-4362","type":"print"}],"published":{"date-parts":[[2023,6,27]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:02Z","timestamp":1784365862742,"version":"3.55.0"},"posted":{"date-parts":[[2024,5,31]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,5,31]],"date-time":"2024-05-31T00:00:00Z","timestamp":1717113600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"To showcase the width of artistic research and at the faculty, and with reference to the faculty's unique profile where we incorporate artistic, pedagogical, and academic methodologies without seeing them as rigidly separate, colleagues are invited to present and publish artistic research in a broad sense through the RC platform, with a special emphasis on using multiple modalities other than text to showcase the work (sound, image, film, etc). We use Research in the Arts as an overarching term, drawing on both the research traditions of Artistic Research and Arts-based Research for the design and objectives of the faculty's publication through Research Catalogue<\/jats:p>\n keywords:<\/jats:p>","DOI":"10.22501\/uia.2848768","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:08:09Z","timestamp":1727179689000},"source":"Crossref","is-referenced-by-count":0,"title":["Guidelines for internal academic assessment of publications in RC, Faculty of Fine Arts, UiA"],"prefix":"10.22501","author":[{"family":"Astrid Marie Lund Gilje","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T08:57:12Z","timestamp":1784365032000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2848768\/2848769"}},"issued":{"date-parts":[[2024,5,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/uia.2848768","published":{"date-parts":[[2024,5,31]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:04:46Z","timestamp":1784369086328,"version":"3.55.0"},"posted":{"date-parts":[[2023,11,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,11,28]],"date-time":"2023-11-28T00:00:00Z","timestamp":1701129600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"The exposition focuses on the question of \u2018distanciation\u2019 that at-once both distances and furthers one\u2019s understanding of the self through being drawn into a work of text \u2013 here taken in a broader sense to include also the visual-material \u2013 and geographical and temporal distance. The latter interpretation of distance relates to the artistic research project that contextualises the article, which is in response to a call for drawings on the question of genetics and identity, hosted by i3S (Institute of Investigation and Innovation in Health, Porto University). As part of this author\u2019s response, and as an example that may, through its reading, cause some expansion of one\u2019s notion of self, the novel \u2018The Inheritors\u2019 by William Golding is discussed. From the point of view of genetic ancestry, Golding\u2019s novel involves incongruous recognition between a family of Neanderthals and a larger group of Homo sapiens, and a more psychological use of the term \u2018other\u2019 for foreignness and one\u2019s negotiation of such initial reaction by oneself. The conjoined question of distanciation and other is considered through reference to a large drawing of the author in progress as part of the ancestry project at the time of writing, and through theoretical reference to the work of Paul Ricoeur, Jacques Lacan and Bracha Ettinger that helps elaborate on distanciation, the psychically interpreted other, and a maternal matrixial idea of pre- and post-natal I and non-I of the self in contiguous relationship not only with psychoanalytical theory, but also with global ancestral mitochondrial DNA.<\/jats:p>\n keywords: drawing, ancestry, distanciation' other, text, psychoanalytical theory, distanciation, distance, other<\/jats:p>","DOI":"10.22501\/i2ads.2255193","type":"posted-content","created":{"date-parts":[[2024,9,24]],"date-time":"2024-09-24T12:09:19Z","timestamp":1727179759000},"source":"Crossref","is-referenced-by-count":0,"title":["Distanciation and other: implications of distance in an ancestry DNA project"],"prefix":"10.22501","author":[{"family":"Mike Croft","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:20:36Z","timestamp":1784366436000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2255193\/2255194"}},"issued":{"date-parts":[[2023,11,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/i2ads.2255193","published":{"date-parts":[[2023,11,28]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T10:05:18Z","timestamp":1784369118472,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"14","license":[{"start":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T00:00:00Z","timestamp":1769558400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["ArteActa"],"published-print":{"date-parts":[[2026,1,28]]},"abstract":"P\u011btice skladatel\u016f \u2013 pedagog, t\u0159i studenti a jedna studentka se vydali naslouchat zvukov\u00e9 krajin\u011b polsk\u00e9ho p\u0159edh\u016f\u0159\u00ed Krkono\u0161, aby zkoumali vliv subjektivn\u00ed percepce na v\u00fdslednou podobu skladby. Nejd\u0159\u00edve zaznamen\u00e1vali sv\u00e9 zvukoprostorov\u00e9 poslechov\u00e9 zku\u0161enosti graficky do skic\u00e1k\u016f. Vz\u00e1p\u011bt\u00ed formulovali tv\u016fr\u010d\u00ed z\u00e1m\u011bry skladeb pro komorn\u00ed ans\u00e1mbl, kter\u00e9 z\u00a0t\u011bchto zku\u0161enost\u00ed vych\u00e1zej\u00ed. V\u00a0n\u00e1sleduj\u00edc\u00edch \u010dty\u0159ech m\u011bs\u00edc\u00edch zkomponovali studie s v\u011bdom\u00edm, \u017ee jsou ur\u010deny ke studiov\u00e9 realizaci. Kompozi\u010dn\u00ed studie pot\u00e9 sami nahr\u00e1li a cel\u00fd proces spole\u010dn\u011b reflektovali. P\u0159edlo\u017een\u00fd text vstupuje do kontextu akustick\u00e9 ekologie, instrument\u00e1ln\u00ed synt\u00e9zy a po\u010d\u00edta\u010dem podporovan\u00e9 skladby. Navazuje na kontinu\u00e1ln\u00ed um\u011bleck\u00fd v\u00fdzkum na kated\u0159e skladby HAMU v oblasti zvuku a prostoru a tv\u016fr\u010d\u00edch aplikac\u00ed v\u00fdsledk\u016f. Jeho c\u00edlem je prozkoum\u00e1vat vztahy mezi subjektivn\u00ed zvukoprostorovou zku\u0161enost\u00ed, volbou kompozi\u010dn\u00edch strategi\u00ed a v\u00fdslednou podobou skladby.Five composers \u2013 one teacher and four students \u2013 set out to listen to the soundscape of the Polish foothills of the Giant Mountains in order to explore the influence of subjective perception on the final shape of a composition. First, they noted down their sound-spatial listening experiences graphically in sketchbooks. They then formulated creative ideas for chamber ensemble compositions based on these experiences. Over the next four months, they wrote compositional studies with the intention of recording them in the studio. They then recorded the studies themselves and reflected on the entire process together. The presented text enters the context of acoustic ecology, instrumental synthesis, and computer-assisted composition. It builds on continuous artistic research at the Department of Composition at HAMU in the field of sound and space and the creative application of the results. Its goal is toexplore the relationships between subjective sound-spatial experience, the choice of compositional strategies, and the resulting shape of the composition.<\/jats:p>\n keywords: plen\u00e9r, kompozice, krajina, percepce, zku\u0161enost, grafick\u00fd z\u00e1pis, akustick\u00e1 ekologie, instrument\u00e1ln\u00ed synt\u00e9za, plein-air, composition, landscape, perception, experience, graphic notation, acoustic ecology, instrumental synthesis<\/jats:p>","DOI":"10.22501\/artact.3954732","type":"journal-article","created":{"date-parts":[[2026,1,28]],"date-time":"2026-01-28T10:54:34Z","timestamp":1769597674000},"source":"Crossref","is-referenced-by-count":0,"title":["Akustick\u00fd plen\u00e9r: zvukoprostorov\u00e1 poslechov\u00e1 zku\u0161enost jako v\u00fdchodisko hudebn\u00ed kompozice"],"prefix":"10.22501","author":[{"family":"Slavom\u00edr Ho\u0159\u00ednka","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["ArteActa \u2013 Journal for Performing Arts and Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:26:44Z","timestamp":1784366804000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3954732\/3960065"}},"issued":{"date-parts":[[2026,1,28]]},"references-count":0,"journal-issue":{"issue":"14"},"URL":"https:\/\/doi.org\/10.22501\/artact.3954732","published":{"date-parts":[[2026,1,28]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:17Z","timestamp":1784365877017,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"10","license":[{"start":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T00:00:00Z","timestamp":1743638400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2025,4,3]]},"abstract":"Blog presenting news and updates from the project 'Craftmanship', by Kjell Tore Innervik and H\u00e5kon H\u00f8gemo<\/jats:p>\n keywords: sl\u00e5ttetromme, percussion, drum beatings, sl\u00e5tt, craft, h\u00e5ndverk, seremoni, ritual, hardanger fiddle, traditional music, Indre Sogn (Norway), re-creation, revival of tradition<\/jats:p>","DOI":"10.22501\/nmh-ar.1059992","type":"journal-article","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T04:11:48Z","timestamp":1743653508000},"source":"Crossref","is-referenced-by-count":0,"title":["Craftmanship - blog"],"prefix":"10.22501","author":[{"family":"Kjell Tore Innervik","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:00:02Z","timestamp":1784365202000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1059992\/1059993"}},"issued":{"date-parts":[[2025,4,3]]},"references-count":0,"journal-issue":{"issue":"10"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.1059992","published":{"date-parts":[[2025,4,3]]}},{"indexed":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:11:26Z","timestamp":1784365886826,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2024,9,6]],"date-time":"2024-09-06T00:00:00Z","timestamp":1725580800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["NMH-AR"],"published-print":{"date-parts":[[2024,9,6]]},"abstract":"The artistic development project Radical Interpretations investigates two iconic works for solo percussion and re-composes these. The goal of the project was to develop new creative and transdisciplinary research in interpretation of musical works. Participants: percussionist Kjell Tore Innervik, Norwegian Academy of Music (NMH), composer Ivar Frounberg, NMH, designer Maziar Raein, Oslo National Academy of the Arts, experience designer St\u00e5le Stenslie, The Oslo School of Architecture and Design, and music recording producer Morten Lindberg.During the 3 years project, the team engaged with the music of Morton Feldman and Iannis Xenakis. The solo percussion pieces The King of Denmark and Psappha were the point of departure.The cd [UTOPIAS ](http:\/\/www.2l.no\/pages\/album\/141.html)(2L) contains the pure audio version of the pieces in high definition and immersive sound.-><-On this site you will find other interpretations and iterations of the music made by the team.<\/jats:p>\n keywords: interpretation, interpretational explorations, recomposition, transdiciplinarity, morton feldman, Iannis Xenakis, SITE-SPECIFIC ART, performance<\/jats:p>","DOI":"10.22501\/nmh-ar.2755933","type":"journal-article","created":{"date-parts":[[2024,9,6]],"date-time":"2024-09-06T09:07:16Z","timestamp":1725613636000},"source":"Crossref","is-referenced-by-count":0,"title":["Radical Interpretations of Iconic works for Percussion"],"prefix":"10.22501","author":[{"family":"Kjell Tore Innervik","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["NMH Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,18]],"date-time":"2026-07-18T09:00:45Z","timestamp":1784365245000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2755933\/2755934"}},"issued":{"date-parts":[[2024,9,6]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/nmh-ar.2755933","published":{"date-parts":[[2024,9,6]]}},{"indexed":{"date-parts":[[2026,7,20]],"date-time":"2026-07-20T11:07:17Z","timestamp":1784545637145,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"1","license":[{"start":{"date-parts":[[2026,7,20]],"date-time":"2026-07-20T00:00:00Z","timestamp":1784505600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["koncon"],"published-print":{"date-parts":[[2026,7,20]]},"abstract":"This research explores the role of improvisation within the classicalsaxophone repertoire. As a classically trained saxophonist with a focus oncontemporary music, I encountered the need to develop improvisational skills,which were previously lacking. This study investigates improvisation in depth,proposing exercises designed to support classically trained saxophonistsbeginning their journey into improvisation. The research is centered on TheDark Side by Jean-Denis Michat, a work for an improvising soloist andsaxophone quartet. It examines the type of improvisation required for thepiece, providing both an analysis of the work and examples of improvisations,alongside practical exercises to develop these skills. Written from the perspective of a classical musician who wants to develop her artistic skills, this study highlights the importance of including improvisation in classical training. It also shows that improvisation can be a useful tool for improving a wider range of musical abilities.<\/jats:p>\n keywords: improvisation, classical music, classical saxophone<\/jats:p>","DOI":"10.22501\/koncon.4011146","type":"journal-article","created":{"date-parts":[[2026,7,20]],"date-time":"2026-07-20T10:46:52Z","timestamp":1784544412000},"source":"Crossref","is-referenced-by-count":0,"title":["Improvisation in contemporary classical saxophone repertoire"],"prefix":"10.22501","author":[{"family":"Zofia K\u0119sy","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["Royal Conservatoire Research Portal"],"language":"en","deposited":{"date-parts":[[2026,7,20]],"date-time":"2026-07-20T10:46:52Z","timestamp":1784544412000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/4011146\/4011147"}},"issued":{"date-parts":[[2026,7,20]]},"references-count":0,"journal-issue":{"issue":"1"},"URL":"https:\/\/doi.org\/10.22501\/koncon.4011146","published":{"date-parts":[[2026,7,20]]}},{"indexed":{"date-parts":[[2025,4,29]],"date-time":"2025-04-29T04:02:12Z","timestamp":1745899332044,"version":"3.40.4"},"posted":{"date-parts":[[2025,4,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2025,4,28]],"date-time":"2025-04-28T00:00:00Z","timestamp":1745798400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Spr\u00e5ktap er en vanlig konsekvens av okkupasjon, fordriving og flukt. I Halo of Shame utforsker Shwan Dler Qaradaki hvordan den politiske undertrykkelsen av kurdisk \u2013 hans morsm\u00e5l - har formet hans kunstneriske praksis. Med inspirasjon fra b\u00e5de vestlig klassisk kunst og islamsk miniatyrkunst skaper han et visuelt uttrykk som balanserer mellom \u00f8st og vest, fortid og n\u00e5tid, objekt og subjekt. Gjennom dette arbeidet utvikler han et dekolonialt bildespr\u00e5k som kan romme de komplekse lagene av identitet, erfaring og motstand.\n\n\nVeiledere:\nTiril Schr\u00f8der: 2021-2025\nMerete R\u00f8stad: 2021-2023\nAne Hjort Guttu: 2023-2025\n\n\nWeb disegner: Ellen Palmeira\nBilder, video, tekst og tegninger: Shwan Dler Qaradaki<\/jats:p>\n keywords: Spr\u00e5k, Undertrykkelse, Kolonialisme, Spr\u00e5ktap, Muntlige, fortellinger, Akvarell, Tegning, Blyant, Eksil, Rasisme, Utenforskap, Identitet, Minne, Motstand, Tilpasning, Traume, Flukt, Historiefortelling, Dekolonialisering, Symbolikk, Kulturell arv, Erfaring, Kunstnerisk spr\u00e5k, Oversettelse, Sensur, Visuell poesi, Migrasjon, Sorg, Hjeml\u00f8shet, Tilh\u00f8righet<\/jats:p>","DOI":"10.22501\/rc.3154537","type":"posted-content","created":{"date-parts":[[2025,4,3]],"date-time":"2025-04-03T14:35:57Z","timestamp":1743690957000},"source":"Crossref","is-referenced-by-count":0,"title":["Halo of Shame"],"prefix":"10.22501","author":[{"family":"Dler Mariam Dalo","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"9794","deposited":{"date-parts":[[2025,4,28]],"date-time":"2025-04-28T09:38:08Z","timestamp":1745833088000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/3154537\/3215996\/30\/30"}},"issued":{"date-parts":[[2025,4,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.3154537","published":{"date-parts":[[2025,4,28]]},"subtype":"preprint"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T12:03:57Z","timestamp":1784289837079,"version":"3.55.0"},"reference-count":0,"publisher":"Society for Artistic Research","issue":"8","license":[{"start":{"date-parts":[[2018,8,29]],"date-time":"2018-08-29T00:00:00Z","timestamp":1535500800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["RUUKKU - Studies in Artistic Research"],"published-print":{"date-parts":[[2018,8,29]]},"abstract":"Since Ruukku 8 has asked us to consider \u201cconditions of sharing\u201d, it seems apt, and interesting, to start this exposition about the conditions of sharing of performative well-being through a dialogue with the conditions of sharing that the Ruukku 8 editors, Mika, Tero, and Leena, have offered us. Here we go!<\/jats:p>\n keywords: improvisation, well-being, performance, performer, acting, Participatory Art, Action Research, education, pedagogy, artistic research, posthumanism, New Materialism, Foucault, pragmatism, VIDEO, sharing, conditions, practice, practice architecture<\/jats:p>","DOI":"10.22501\/ruu.356682","type":"journal-article","created":{"date-parts":[[2018,9,29]],"date-time":"2018-09-29T11:48:54Z","timestamp":1538221734000},"source":"Crossref","is-referenced-by-count":0,"title":["Performative Well-Being: Conditions of Sharing"],"prefix":"10.22501","author":[{"family":"Alexander Komlosi","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","container-title":["RUUKKU - Studies in Artistic Research"],"language":"en","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T11:15:36Z","timestamp":1784286936000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/356682\/372559"}},"issued":{"date-parts":[[2018,8,29]]},"references-count":0,"journal-issue":{"issue":"8"},"URL":"https:\/\/doi.org\/10.22501\/ruu.356682","ISSN":["2341-9687"],"issn-type":[{"value":"2341-9687","type":"print"}],"published":{"date-parts":[[2018,8,29]]}},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:42Z","timestamp":1784282982754,"version":"3.55.0"},"posted":{"date-parts":[[2024,8,26]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2024,8,26]],"date-time":"2024-08-26T00:00:00Z","timestamp":1724630400000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Reproducing coercion consists of a book and a film: both pieces of work compliment each other and provide a detailed exploration of authoritarian group (commonly referred to as cults) coercive techniques. The films offer visual poetics that support the scientific work and portray the end results of the techniques explored - from the perspective(s) of cult members.The film: Journeying into the intangible and often legitimate yet immoral tools of control, manipulation and precaritization used by high-pressure groups, the scientific work offers insight into common characteristics that help identify and analyze coercive groups, regardless of their ideology or area of operation. The written part: The written work on the other hand, delves into an exploration of capitalism (in its various forms and historical structures within western context), and the common characteristics class - based societies exhibit with coercive groups. More notably, the focus is on the reproduction of ideology and the functions of Ideological State Apparatuses in replicating class exploitation and aiding in its internalization.The topics in this work, explored with an experimental approach, incorporating the author\u2019s personal experiences and recollections, while referencing films he\u2019s produced on the subject matter.The structure: The first part seeks to identify the characteristics of high-demand groups; it also delves into an overview of Althusser\u2019s theories on the reproduction of ideology.The second part explores the parallels between various forms of capitalist ideology and high-demand groups, while focusing more on absolute thought, language and precaritization.The third part journeys into labour, hierarchy, and compartmentalization of the workplace, exploring how systems are reproduced and how they endure through repetition.By comparing cult coercion methods to the reproduction of capitalism, the thesis seeks to offer a unique perspective on how ideology is reproduced, irrespective of the doctrine.<\/jats:p>\n keywords: Cults, coercion, ideology, capitalism, precarity, FILM, Written word<\/jats:p>","DOI":"10.22501\/rc.2981465","type":"posted-content","created":{"date-parts":[[2024,9,5]],"date-time":"2024-09-05T11:38:19Z","timestamp":1725536299000},"source":"Crossref","is-referenced-by-count":0,"title":["Reproducing Coercion - An exploration on the reproduction of ideology in cults and capitalism"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0009-0000-4584-1872","authenticated-orcid":false,"family":"Yilmaz Vurucu","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:58:39Z","timestamp":1784282319000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2981465\/2981464"}},"issued":{"date-parts":[[2024,8,26]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2981465","published":{"date-parts":[[2024,8,26]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:05Z","timestamp":1784283005506,"version":"3.55.0"},"posted":{"date-parts":[[2022,2,24]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2022,2,24]],"date-time":"2022-02-24T00:00:00Z","timestamp":1645660800000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Playing in the Manner of Ricardo Vi\u00f1es is an artistic research project undertaken at the Norwegian University of Science and Technology (NTNU) for the degree of Philosophiae Doctor (PhD) in Artistic Research. The project\u2019s reflection work takes the form of an exposition, which includes texts, videos, annotated scores and the artistic results. In this artistic research project, H\u00e5kon Magnar Skogstad uses an extreme form of imitation to embody and recreate the historical recordings of Catalan-Spanish pianist Ricardo Vi\u00f1es (1875-1943) with the aim of evoking a romantic performance tradition in classical music. Ricardo Vi\u00f1es was one of the leading pianists in Paris around 1900 and premiered several compositions, including a substantial part of the piano works of Claude Debussy and Maurice Ravel. In his recordings, we hear a tradition of romantic performance practice, which Skogstad claims is not heard in modern-day performances. Furthermore, Ricardo Vi\u00f1es\u2019s close relationship to the works of Debussy and his recorded performances have the potential to challenge performance practice norms in impressionistic music. By analyzing, studying and recreating the historical recordings of Ricardo Vi\u00f1es, Skogstad sets out to research, experience and through this to gain an understanding of of Vi\u00f1es's playing style on a fundamental level as a performing artist. The method of recreating recordings is carried out by imitating and playing alongside the originals to the point where the recreated performances can be superimposed onto the original historical recordings \u2013 achieving a sort of artistic \u201csynchronization\u201d. Skogstad believes that by committing to such extreme imitation, it is possible to extract unique artistic knowledge from these old recordings. In order to examine the performance practice in context, the playing style of Ricardo Vi\u00f1es is compared to selected and equally thoroughly recreated recordings by contemporaneous pianists Sergei Rachmaninov, Ignacy Friedman and Jes\u00fas Mar\u00eda Sanrom\u00e1. Finally, four recordings of pieces by Claude Debussy played by Ricardo Vi\u00f1es are recreated with the purpose of examining the influence of Vi\u00f1es\u2019s playing style in the music of Debussy.In the film Playing in the Manner of Ricardo Vi\u00f1es, which is one of the artistic results of the research, Skogstad records five of Ricardo Vi\u00f1es\u2019s original recordings in a \u201chistorical recording environment\u201d, approaching that which Vi\u00f1es encountered in 1930. The aim of this is for Skogstad to expose himself to a similar recording environment to what Vi\u00f1es experienced \u2013 including recording one-off takes without any possibility of editing. The performances are rough, imperfect and on-the-fly - played in a \u201chigh-risk\u201d manner just like Vi\u00f1es's \u2013 in contrast to the perfectionism of music production standards today.H\u00e5kon Magnar Skogstad (b.1989) is a prize-awarded diverse pianist and composer holding degrees in classical performance from Trondheim (NTNU, Department of Music), Oslo (Norwegian Academy of Music) and New York (Manhattan School of Music). He has performed in ensembles and as a soloist throughout Norway and played concerts in the U.S., Argentina, Germany, Austria and Sweden. Skogstad released three recordings with critically acclaimed ensembles in Norway, as well as his debut solo album Two Hands to Tango and Visions of Tango, featuring his original Concerto for Piano and String Orchestra with Atle Sponberg and the Trondheim Soloists. Both albums have received numerous outstanding reviews and the latter was nominated in the Norwegian Grammy Awards for best classical album.<\/jats:p>\n keywords: artistic research, piano, performance practice, HIP, embodiment, imitation, recreating, historically informed performance, historical recordings, Ricardo Vines, composition<\/jats:p>","DOI":"10.22501\/rc.1399142","type":"posted-content","created":{"date-parts":[[2022,2,24]],"date-time":"2022-02-24T05:25:53Z","timestamp":1645680353000},"source":"Crossref","is-referenced-by-count":0,"title":["Playing in the Manner of Ricardo Vi\u00f1es"],"prefix":"10.22501","author":[{"family":"H\u00e5kon Magnar Skogstad","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:53Z","timestamp":1784282393000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/1399142\/1411285"}},"issued":{"date-parts":[[2022,2,24]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.1399142","published":{"date-parts":[[2022,2,24]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:10:30Z","timestamp":1784283030987,"version":"3.55.0"},"posted":{"date-parts":[[2023,10,4]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,10,4]],"date-time":"2023-10-04T00:00:00Z","timestamp":1696377600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"This research project arose from encounters with wild more than human beings in city spaces close to where I live. The encounters themselves were very rich, complex and flowing over with meanings and feelings that I couldn\u2019t quite grasp in the moment of their happening. As a practitioner-researcher, I therefore chose to explore these feelings and meanings through creative practice, while also engaging in academic research to position these encounters in discourses, both directly relevant and those that resonate with the ideas and feelings arising. I characterise this as a project that aligns with and is productively informed by multispecies studies and practices. In its mixing of encounters with wild nature through primarily digital images and sounds, the practice activates an \u2018ecology of technology\u2019<\/jats:p>\n keywords: urban nature, wild ecologies, creative digital practice, multispecies<\/jats:p>","DOI":"10.22501\/rc.2089210","type":"posted-content","created":{"date-parts":[[2023,10,4]],"date-time":"2023-10-04T06:38:22Z","timestamp":1696401502000},"source":"Crossref","is-referenced-by-count":0,"title":["Urban Wild_Life: Exploring affective relationships with wild urban nature through creative digital practices"],"prefix":"10.22501","author":[{"ORCID":"https:\/\/orcid.org\/0000-0003-4768-8175","authenticated-orcid":false,"family":"Joanne Scott","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:14Z","timestamp":1784282354000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2089210\/2089211"}},"issued":{"date-parts":[[2023,10,4]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2089210","published":{"date-parts":[[2023,10,4]]},"subtype":"other"},{"indexed":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T10:09:54Z","timestamp":1784282994722,"version":"3.55.0"},"posted":{"date-parts":[[2023,11,28]]},"reference-count":0,"publisher":"Society for Artistic Research","license":[{"start":{"date-parts":[[2023,11,28]],"date-time":"2023-11-28T00:00:00Z","timestamp":1701129600000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/en.wikipedia.org\/wiki\/All_rights_reserved"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"Ko = water in Mapundungun (Mapuche language).The reflection revolves around how we divide the waters in time-based media practices in the current context of environmental emergency + war. The analysis begins inspired by the Mapuche people about interconnectedness with rivers and lakes, raising a question about art practices today. Ko's idea is based on how water flows from the sides (positions, political strategies, visions) and divides territories. How to make performance art sustainable? To answer this question, a capsule is presented around the ecology of time-based media as a fluid art practice. To understand in three steps this observation selected exponents from around the world and Austria helps to make a final selection of three performance artists living and working in Vienna, observed as different currents of one sea with leitmotiv and policy paths. The aim is to use this classification to speculate on how they could improve sustainability in the next decade. Ko speculates on how practices use these territories divided as a sea with currents. Where bodies could achieve the awareness needed especially in terms of water crisis scarcity and safe access. The final thought claims attention to fluid thinking to find solutions and build a sustainable community.<\/jats:p>\n keywords: Mapuche, fluid practices, performance exponents, water crisis, sustainable performance.<\/jats:p>","DOI":"10.22501\/rc.2284406","type":"posted-content","created":{"date-parts":[[2023,11,28]],"date-time":"2023-11-28T17:33:53Z","timestamp":1701192833000},"source":"Crossref","is-referenced-by-count":0,"title":["Ko. Fluid Practices."],"prefix":"10.22501","author":[{"family":"Sergio Patricio","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"9794","deposited":{"date-parts":[[2026,7,17]],"date-time":"2026-07-17T09:59:06Z","timestamp":1784282346000},"score":0.0,"resource":{"primary":{"URL":"https:\/\/www.researchcatalogue.net\/view\/2284406\/2284405"}},"issued":{"date-parts":[[2023,11,28]]},"references-count":0,"URL":"https:\/\/doi.org\/10.22501\/rc.2284406","published":{"date-parts":[[2023,11,28]]},"subtype":"other"}],"items-per-page":1000,"query":{"start-index":0,"search-terms":null}}}