Research Catalogue

Nine research groups from HKU, Hanze University of Applied Sciences, Fontys, and Utrecht University of Applied Sciences are joining forces with UvH and UMCU to bring a new perspective on healthcare through the arts, supported by the SIA-SPRONG grant. Using a transdisciplinary approach, this research group and its partners are developing new methods, practices, and scenarios within healthcare and well-being contexts—not for, but with each other.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children: how they love, amongst other. I wanted to emphasise that element, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp, but intimate twist, as commentary, in the British tradition of political satire, to the otherwise dark subject matter. Finally, this artistic style refers to the populist character of actors. The text is written like trip-hop songs: two of the pseudonyms I gave are the artistic names of musicians of colour from the British band "Massive Attack", formed in Bristol. Otherwise, it is loosely structured in a manner inspired by television series. I used heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition displays loosely and in lay terms vocabulary as rhetorical devices from analytic metaphysics, as well as gender and romance studies; for instance, I use the word "unactualised" to refer to individuals, who are real and concrete, who exist independently of my mind, however they were not "actualised" in my so-called personal life and dating practices: for that, I would have to select them, in order for them to be "instantiated" in my dating. The exposition is underpinned by an underlying neo-Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, as painting, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For "Panos" ('Ramadan', 'Julien', "Mr X"), Filip ('Philip'), and Brandon ('Magna') (and Nick) - August, September, and October 2024 (March 1996). For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Sharon''s Beau", or "Her Man's alter-ego"), 'Moussa', 'Gaetan'; Black 'Humbert Humbert' meme (and friend), 'Miloud'; Mohammed' ('Onzedouze'), 'Hermando', 'Nesseem' and 'Didi' - December 2024, January 2025, May, June, July, August, September, as well as November to December 2025; again January 2026, with 'Prudence' in Paris. Seven men of colour and seven white men, who were also targeted, directly and indirectly. Who are not politicians, except for a current one and a former one, but are doing something political, so they must take good care of what they do. All my drawings were stolen in Paris and Brussels, in 2025. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

Abstract This thesis analyzes an original technique based on the transformation of ash into a self-supporting sheet suitable for charcoal drawing. The process, based on the use of sifted ash and powdered wallpaper paste as a binder, generates a lightweight, porous mineral support with a unique tactile quality, similar to a “combustion skin.” The research examines the technical, aesthetic, and conceptual dimensions of the material obtained, placing it in the context of contemporary art and practices that aim to stabilize ephemeral residues. The ash sheet is interpreted as artificial geology, a sediment constructed by the artist, and as a poetic device that intertwines memory, combustion, and rebirth.

The subjective experience of time pressure in today’s efficiency- and performance-oriented society is fuelled by a paradox: acceleration is omnipresent due to economic and technological demands, while at the same time complexity and self-responsibility require more time for decisions. This exposition examines individual and institutional ways of dealing with discrepant time demands. Where and how do different age groups experience divergent time regimes that occur simultaneously? Which techniques do individuals and institutions use or invent to synchronize different time perceptions, rhythms, and activities? How can artistic research create asynchronicity and make it experienceable through filmic means? And, finally, to what extent can filmic thinking produce ways of knowing that convey (as yet) unverbalized perceptions of time? Methodologically, this research combines analytical and artistic approaches in an essayistic procedure comprising cinematic practice and writing. On the one hand, it explores different aspects of divergent perceptions of time in a series of case studies under the leitmotif of “asynchronous determinations of time.” Situated in both immaterial and care work, in which bodily and affective temporalities are highly important, these empirical investigations consider the role of lifetime (age, biography, memory) and temporal modes (tempos; imperatives, indicatives, subjunctives). On the other hand, this study develops specific artistic procedures for focusing perception by means of narration, fragmentation, montage, visual and linguistic interventions, extractions and interweavings. Since simultaneous non-simultaneities (tend to) overwhelm subjective experience, the procedures adopted in this research contribute to new forms of filmic thinking and images of thought. They should be understood as an incentive to empathize with different understandings of time.

In recent years, it has become a real possibility for artists to engage with spatial sound technologies that allow for movement beyond the stereocentric paradigm. Thus, spatialization has mostly lent itself to avant-garde traditions, electronic music, and sound art. However, the rapid advancements of technologies have called for artists, songwriters, and musicians of all genres to contribute to this development not only by following and fitting into these new formats but also by shaping them through artistic engagements with them. When considering sound in space as a new component in the music creation toolbox, a new dimension is added that provides creative and performative potentials of situating songwriting and music creation within a spatial sound practice. Beyond the literal, what kinds of metaphorical or emotional resonance can emerge from the vibration between various bodies, such as composers, performers, and audiences, as well as bodies of sound, technologies, interfaces, instruments, scene, setting, speakers, aesthetics, and orientations? Voicing Spatial Songs was conducted by avant-pop duo SØSTR, which consists of sisters Louise Lind Foo and Sharin Foo.

This essay proposes the “Erased Museum” as both a critical framework and an institutional ethics: a museum that recognizes loss as its primary collection and disappearance as a mode of curation. Drawing from Absential Aesthetics, it argues that destruction—by fire, flood, war, neglect, theft, or obsolescence—does not terminate cultural meaning but reorganizes it into a second, invisible archive composed of voids, residues, and public conscience. Through case studies and touchstones including the Library of Alexandria, Brazil’s National Museum (2018), the Mosul Museum (2015), and architectural and curatorial practices that preserve wounds rather than conceal them (e.g., post-damage restorations and void-centered memorial architectures), the essay reframes conservation as a dialogue with entropy rather than a fantasy of permanence. It also traces contemporary artistic strategies that curate absence directly—fabricated archives, missing inventories, empty frames, restitution bureaucracies—showing how loss can become documentation rather than mere lament. The work concludes by extending the ethics of disappearance to the digital domain, where decay occurs without smoke, and by proposing “transparent loss protocols” as a future-facing curatorial responsibility.