Research Catalogue

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).

This article "Cartesian Doubt" critiques René Descartes' foundational method of systematic doubt by drawing on the analysis of French philosopher Michel Serres, who likens the Cartesian enterprise to the predatory logic found in La Fontaine’s fable "The Wolf and the Lamb". Serres argues that Cartesian doubt is not a neutral search for truth but rather an "absolute irreversibility doctrine" that functions as a one-way mechanism to destroy all prior beliefs and sensory data to reach the predetermined outcome of the cogito. This process creates a permanent structural gap between the subject and the world, establishing a "foundational violence" in Western thought. Furthermore, the article challenges Descartes' metaphor of sorting a finite basket of apples, asserting that it fails to account for the infinite and dynamic nature of error and decay in a complex, modern scientific reality.

1º objeto: dispositivo para facilitar o ver e o sentir. 2º objeto: portal (ponte entre a cidade de Kuldiga e a floresta)

Contemporary art criticism often advances by way of interpretive extraction. Works are translated into meanings, themes, intentions, and arguments, which then circulate with remarkable efficiency through institutional language. This practice, for all its fluency, carries an unexamined cost: the quiet displacement of the viewer, the compression of encounter into explanation, and the steady accumulation of linguistic force where restraint might have sufficed. _Measuring Proximity_ proposes a post-interpretive diagnostic tool situated within the framework of Post-Interpretive Criticism (PIC). It does not ask whether an interpretation is correct, persuasive, or useful. Instead, it attends to posture, how critical language positions itself in relation to the artwork, how closely it remains, how quickly it resolves, and how readily it aligns. The framework emerges from a refusal of rigid disciplinary boundaries. It proceeds from the conviction that once inquiry is pursued with sufficient depth, the familiar divisions between philosophy, criticism, rhetoric, ethics, and analysis begin to collapse, revealing a shared terrain of attention and care. In this sense, the diagnostic experiment does not belong to a single “subject,” nor does it attempt to formalize one. Five diagnostic indices, Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI), are introduced as reflective instruments for tracing the behavior of language rather than adjudicating its claims. The framework is intentionally non-prescriptive and exploratory, offered in the spirit of a serious experiment, one that treats measurement not as authority, but as curiosity. These measures do not seek to replace interpretation, nor to govern style or method. They operate as a mirror, rendering visible the pressures already at work within critical discourse. What emerges is not a system of judgment, but a way of noticing: a playful yet disciplined attempt to see where explanation begins to outweigh encounter, and where proximity quietly gives way to possession. Rhetorical density enters this framework by way of inheritance rather than invention. Its articulation as a formal, measurable feature of language was first developed by Mandar Marathe and introduced to the research community through presentations at venues such as QUALICO 2025 at Masaryk University and the Digital Humanities Conference at SOAS University of London. Later implementations, including the BALAGHA Score (2025–2026), extended its use toward the measurement of rhetorical richness in Arabic-language texts. Here, rhetorical density functions simply as a descriptive register of linguistic intensity. The remaining indices: Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI), all emerge from within Post-Interpretive Criticism itself and belong specifically to its diagnostic orientation. The framework is not intended to guide the production of criticism, nor does it imply an ideal direction or outcome; it functions only as a means of reflecting on critical language after it has already been written.

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.

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.