Research Catalogue

This exposition presents a format designed for experiencing writing as a relational process in a workshop setting. It is based on implementations that have taken place in different contexts in the fields of higher education and research in the arts, and is intended as an invitation to further adopt and adapt the format in transversal settings.

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.

The project comprises text, location photos, photos of artworks, and video animations that record the experiences of a natural flood that affected house and studio. The project’s content is a consideration of the consequences of the flood towards an existing project in progress at the time and on existing finished artwork. The finished exposition had two unsuccessful reviews; the first due to insufficiently proposing a workable consideration of failure, the second for insufficient clarity of purpose. As this self-published iteration, screenshots taken from the original iteration as formatted on the RC are overlaid with short summaries of aspects of the project’s content, in terms pertaining to both the staining of the flood water and the often unacknowledged writing, re-writing, and over-writing of whatever is the language basis of one's practice. The screenshots, as simulated text-and-image cameos, have the summaries ranged next to them as legible text. The original submitted project is archived though accessible as a PDF only, along with its supplementary papers and video clips.

Cosmic Journey; Exploring the possibilities of Harp and Live-Electronics by Kyra Frimout. Research Question: How do I adapt the Stellar Sonata by Caroline Lizotte composed for the electroacoustic harp to a traditional acoustic pedal harp? 'Cosmic Journey' is a performance that focusses on space-themed repertoire for the harp and live-electronics, combined with visual images of NASA to enhance the audience’s experience. It explores the use of improvisation to tell the story of Kyra Frimout's grandfather Dirk Frimout, who went on his mission to space in 1992. The centre piece of this program is the Stellar Sonata, which was the inspiration for shaping this project. This research investigates the integration of live electronics with the harp by analysing 'Stellar Sonata' by Caroline Lizotte and exploring its implications for new compositions and improvisations. The study is structured in three parts. First, an in-depth examination of 'Stellar Sonata' is conducted, including an overview of Lizotte’s compositional style, her inspirations, the narrative embedded within the piece, and a detailed analysis of its musical material. The second section focuses on the technical aspects of recreating the piece’s electronic effects, assessing the required equipment while addressing challenges in replicating the sonic landscape, with updated technology. The final section explores new creative avenues that emerge from this research, including the application of live electronics to existing harp repertoire and its transformative impact on improvisation and composition. By bridging tradition with technology, this study aims to make electroacoustic music more accessible to harpists by exploring affordable equipment and practical amplification options—particularly for those seeking to perform Stellar Sonata without requiring an electroacoustic harp—while also pushing the artistic boundaries of the instrument in contemporary music. Kyra Frimout is a harpist and singer with a passion for contemporary and electroacoustic music. She studied Classical Music at the Royal Conservatoire in The Hague, where she is now pursuing a Master’s in New Audiences and Innovative Practice. In 2024, she studied with harpist-composer Caroline Lizotte in Montréal, deepening her understanding of electroacoustic harp techniques. Kyra explores the intersection of traditional harp performance and modern technology, integrating live electronics to expand the instrument’s expressive potential. Through her work, she seeks to redefine the role of the harp in contemporary music, using electronic effects to open new creative possibilities in both composition and improvisation.

Two of the oldest manuscripts containing trumpet music lie in the Royal Danish Library and were both written in Denmark around the year 1600. They contain hundreds of fanfare-like melodies with little explanation as to how, why, or where they should be played. Written by trumpeters with limited musical education, the manuscripts present a unique challenge in deciphering distinct and personal notation styles. The aim of this research is to shed a new light on the so-called Thomsen and Lübeck manuscripts by stepping into the shoes of the trumpeters of the late renaissance and early baroque. The court of Christian IV (1577-1648), King of Denmark and Norway, was one of the most influential courts of early 17th century Europe and employed a respectable number of at least 123 trumpeters throughout Christian’s 60 year reign. By examining the role and duty of those trumpeters, as well as the culture around trumpet playing in the 16th and 17th centuries we gain a new insight into the festive, vigorous, and loud music of the royal courts. Improvisation plays a big part in interpreting the Danish manuscripts. By applying improvisation techniques described by Italian and German trumpeters in the 17th century, as well as considering the capabilities and limitations of historical instruments, new life is brought to fanfares which might appear monotonous and repetitive at first glance.