Research Catalogue

Interviews about where artistic research is heading The work Paths of artistic research is a collection of interviews with artistic researchers - Andrea Buršová, assistant professor at the Nika Brettschneiderová Dramatic Acting Department, Faculty of Drama, JAMU, Jiří Honzírek, director, manager of the Feste Theatre and PhD student at the Theatre Faculty, JAMU, Barbora Klímová, head of the Studio of Environmental Design at the FFA BUT, Lenka Klodová, head of the Studio of Body Design at the FFA BUT, Lucia Repašská, researcher at the Cabinet for Theatre and Drama Research, Theatre Faculty, JAMU, Hana Slavíková, head of the Studio of Radio and Television Dramaturgy and Scriptwriting, Theatre Faculty, JAMU, Pavel Sterec, artist and former head of the Intermedia Studio at the FFA, BUT, and Lenka Veselová, researcher at the Department of Theory and History of Art at the FFA, BUT and PhD student at the FFA, BUT. These are artists who have been associated with art colleges in Brno, specifically with the Faculty of Fine Arts of the BUT and the Theatre Faculty of the JAMU. Through interviews with the artists, the reader will learn under what circumstances they began to engage in artistic research, how they perceive it, what meanings they attribute to it and the purpose it serves for them. The selected group of artists is very diverse and their creative and research strategies are different, as are the purposes for which they use artistic research. The work does not aim to provide an exhaustive overview of the methods used in artistic research, but it does aim to show that there are many approaches to artistic research and to present the paths that have brought particular artists to artistic research.

This thesis explores how late-diagnosed autistic individuals and their close circle can redesign their relationship after their diagnosis through communication that aligns with autistic ways of being. Grounded in the neurodiversity paradigm, the social model of disability, and the double empathy problem, the research combines interviews, co-creation sessions, and visual storytelling to uncover emotional and relational dynamics during post-diagnosis identity shifts. Through a neurodivergent lens—rooted in sensory awareness, pattern recognition, and visual thinking—this work challenges deficit-based narratives and proposes a compassionate, co-created communication framework. The goal is not assimilation but mutual understanding: enabling autistic individuals to embrace their authentic selves while guiding loved ones to meet them with compassion and openness. Ultimately, the project reimagines design as a tool for creating connection, not correction—honouring difference, restoring balance, and building inclusive systems where all ways of being are valid, visible, and valued.

In our exploration of the spatiality of language and, specifically, the activation of the site where writing "makes" rather than takes place, we propose a multilayered experience of the book as an object, as well as a geometrical, topological, and especially performative space, which we understand as an "ecology of the book". Extending this practice beyond the book's margins, yet simultaneously embedding it within the material and technical affordances of the book’s medial articulations, we evoke a "new" ecology—one unfolding alongside the interaction-landscape and its actual and invented inhabitants, as well as the techniques of its production. Texts, drawings, figures, figurations, methods, and both human and non-human authors weave together the heterogeneous texture of the book’s "new" ecology. In our monographs, "Fauna. Language Arts and the New Order of Imaginary Animals" (2018), "Flora. Language Arts in the Age of Information" (2020), and "Fiction Fiction. Language Arts and the Practice of Spatial Storytelling" (2023, De Gruyter/Edition Angewandte), we explore and map the territory of language arts. This approach manifests, on the one hand, through the transgression of traditional scientific methodologies and a shift in models—from thinking-of-the-other toward thinking-with-the-other, and on the other hand, through the agency of our eponymous characters, Fauna and Flora, who not only title our books but also act as conceptual operators—figures that navigate, perform, and activate the very spaces our texts explore. Applying Michel Serres' methodology of thinking by inventing personae, these characters move within and percolate through the margins of text (written, figural) and space (concrete, fictional), reconfiguring the notion of authorship and placing literary texts and digital drawings within the frame(less) collective of more-than-human and more-than-organic actants.

As artificial intelligence continues to advance, its role in the creation of music has raised profound questions regarding the nature of authorship and the ethical implications of algorithmic composition. Exploration of a fast-evolving relationship between music and AI broadens researches` horizons on the transformation of creative processes and the challenges it presents to traditional creativity. Delving deeper into the ethical considerations surrounding the ownership, originality, and emotional authenticity of machine-created music plays an important role in the understanding of modern music industry and helps to navigate creative development in today’s reality. Ongoing ethical aspects of AI presence in music and creative industry show the importance and actuality of this topic. This paper aims to provoke a deeper understanding of how AI is reshaping musical creativity and to encourage a critical dialogue about the future of art in a digitally driven world.

This thesis presents the outcomes of my artistic research conducted as a master’s 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.

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.” Today, 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.