Research Catalogue

Operafrø / seed is a site-specific performance cycle with opera singers and improvisational performers in a ritual form, created for babies and parents together with seeds, plants and trees in a botanical garden. Through a playful and free improvisational musical approach to creating art for the little ones, we have, based on Vivaldi's Four Seasons, created a baby opera for the smallest seeds, both human and plant seeds. Babies have their own little big voice, which can be said to be a sprout for the adult big voice. In the span between the baby voice and the opera voice we can hear that a string is ringing! During the four seasons in Ringve Botanical Garden through 2023, and together with the audience of babies and parents, the artists have investigated seeds, sprouts, plants and trees through rituals, play and theater in sympoetic (Haraway) co-creation with nature, song, rhythms, babies, and parents.

This research investigates how local sourcing practices in the Netherlands can enable the reuse of secondary food-related materials for ceramic glaze production, and how the exploration of existing networks through material research can contribute to the development of new cross-sector collaborations. Through a practice-based approach that bridges ceramic production, design research, and the restaurant industry, the study explores the potential of locally available “waste” materials, such as bones, shells, charcoals, and discarded glass, as viable resources for glaze making. The research combines material experimentation with qualitative fieldwork, including interviews and informal discussions with chefs, ceramicists, suppliers, and material practitioners. By tracing the origins, processing, and transformation of these secondary resources, the study critically examines the environmental impact and opacity of conventional glaze supply chains, which often rely on imported raw materials and energy-intensive extraction and transportation processes. Central to the research is the creation of a material archive that documents locally sourced secondary materials and their behavior in glaze recipes. This archive functions not only as a technical tool for ceramic experimentation, but also as a framework for understanding relationships between material flows, human practices, and local infrastructures. Drawing on the concept of “working in the minor key,” the research emphasizes learning through direct engagement, observation, and collaboration rather than predefined systems. The findings suggest that material research can act as a catalyst for new circular practices and cross-sector networks between restaurants and ceramic industry, fostering shared responsibility, creative exchange, and reduced material consumption. By reframing waste as a site of value and knowledge, this study proposes an alternative, locally embedded approach to glaze production that integrates sustainability, and social engagement.

Transmutations seeks to redefine the term transformation through a staged concert — a concert conceived as a work of art in itself. The traditional concert format and conventional performance practices are showing signs of stagnation, thus calling for the emergence of a voice adapted to this transformation. The boundaries of music, especially within the classical realm, have gradually blurred in recent times. Increasingly, artists are exploring the concert as a form of expression that not only integrates other artistic disciplines but also embraces technological advancements. This approach challenges traditional aesthetic conventions and the notion of genre and musical style. The omnipresence of technology in contemporary society underlines the need for research that explores the many possibilities of the concert format. This staged concert aims to redefine the concept of transformation by avoiding any stylistic boundaries. The works of Richard Strauss, John Cage, and Alexander Schubert are included not only for their artistic value but also for their contribution to the very notion of transformation.

This dataset presents a quantitative diagnostic analysis of critical posture in contemporary art writing across a forty-five-year span (1980–2025). Using the Post-Interpretive Criticism (PIC) diagnostic framework, twenty influential texts drawn from journals, newspapers, magazines, institutional press releases, and exhibition discourse were coded sentence-by-sentence to examine how critical language positions itself in relation to artworks, viewers, and institutional authority. Five indices were applied: Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI). Rather than evaluating interpretive correctness or aesthetic value, the framework isolates how critical claims are produced—measuring the balance between descriptive encounter and explanatory force, the degree of viewer displacement, the presence or absence of linguistic restraint, and the extent of institutional mediation. The dataset demonstrates that high rhetorical intensity does not necessarily correlate with high interpretive extraction, and that ostensibly “plain” theoretical language frequently produces maximal displacement. Across historical periods, the results reveal recurring postures—verdict-driven criticism, theory-dominated explanation, affective populism, and market-aligned promotion—each identifiable through distinct metric profiles. The findings provide quantitative support for a central claim of Post-Interpretive Criticism: that the ethical stakes of art writing reside not in what criticism concludes, but in how closely it remains to the conditions of encounter. This dataset is offered as a reflective and exploratory diagnostic resource, not a prescriptive model, contributing a formal complement to phenomenological and post-hermeneutic approaches in contemporary aesthetics. 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) ISSN 2819-7232 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. ORCID: 0009-0004-7737-5094

Journalistic storytelling should move away from the hero narrative. Instead, drawing on Ursula K. Le Guin’s Carrier Bag Theory, it should adopt a “carrier-bag” perspective: to gather, carry, and connect—collecting 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 durée) 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.

Questa esposizione fa parte di un progetto di ricerca artistica più ampio, articolato in diverse declinazioni. Il focus presentato si concentra su un’indagine specifica della violenza attraverso il dispositivo dell’auto-conferenza, intesa come pratica performativa e riflessiva. La ricerca prende avvio dalle conferenze autofinzionali di Sergio Blanco, in particolare dalla sua elaborazione della violenza come costruzione narrativa, e si sviluppa attraverso la rielaborazione di un’esperienza personale di violenza subita. In questo contesto, l’autofinzione diventa uno strumento metodologico capace di mettere in relazione l’esperienza vissuta, il discorso teorico e la rappresentazione. L’auto-conferenza viene quindi intesa come una vera e propria metodologia di ricerca artistica: uno spazio in cui l’esperienza personale si intreccia con riferimenti teorici e visivi, generando una riflessione critica sulla rappresentazione della violenza e sulle possibilità del racconto di sé come pratica di conoscenza. L’elemento autobiografico, sempre in bilico tra attendibilità e finzione, diventa così il punto di partenza per una riflessione che supera l’io dell’autore e si apre a una dimensione collettiva, coinvolgendo lettori e spettatori.