Research Catalogue

O papel do corpo na criação do lugar. O percurso físico como motor investigador do percurso, viagem e abstração mental.

I presented my paper at the Asian Pacific Artistic Research Network 2025 Conference under the theme Artistic Research for Creative Communities. My presentation, titled “Embodied Memory and Subversive Performances: Reimagining the Repressed Body in Collective Action,” explored how the Woman, Life, Freedom movement in Iran has generated a rich archive of embodied protest. Through gestures like group clapping, headscarf-burning, and silent standing, and plural embodied subversion experiences, that inspired from their collective memory, protestors challenged hegemonic gender norms and collectively reimagined femininity through performative resistance. Drawing on field interviews, sensory ethnography, and archive analyze, I reflected on how these subversive performances are shaping new femininity social imaginaries.

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

The research is based on personal experiences of working as a director and creator in the field of participatory performance. It raises questions about how the specific conditions of the field, where authenticity, presence, and relationality often are prominent aesthetic values, can influence the role of the director and the interaction between director and performer. Furthermore, the project examines how an artistic practice situated in this field and shaped in relation to these values is challenged and conflicted by the shifting and sometimes conflicting management cultures that exist in contemporary performing arts. The project consists of seven documented artistic projects, a reflective lyrical essay, and a summary of methods, all of which examine weakness as a cultural taboo and a potential path to artistic, professional and personal liberation in different ways.

Author: Dorian Vale Affiliation: Museum of One — Registered Archive and Independent Research Institute for Contemporary Aesthetics Museum of One|Written at the Threshold Abstract This 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’s 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’s five indices, Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI), structuralize Dufrenne’s 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’s transcendental phenomenology through Dufrenne’s aesthetic application to PIC’s diagnostic formalization, demonstrating how the indices measure whether criticism honors or violates the phenomenological structure of aesthetic encounter. Furthermore, it shows how PIC’s theoretical framework, particularly Stillmark and Hauntmark theories, completes Dufrenne’s “never-ending dialectic” 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.

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.