Research Catalogue

Disclaimer: Adult Contents S/N 267 is the result of a collective search begun within the Internet Archive, an ever-evolving digital space that provides access to various types of resources, enabling the preservation and dissemination of knowledge. This Internet library archives not only digital content and snapshots of Web pages, but also images, audio, video, and software. The project investigates the diversity of representations that emerge from online searches, exploring how the individual conceives of the body through the selection and uploading of content into the digital world. Using the word “body” as the main filter for image selection, S/N 267 takes the form of a sticker album where each image tells a unique, sometimes highly personal story and reflects the richness and variety of content uploaded by users. ITA S/N267 è il risultato di una ricerca collettiva avviata all’interno di Internet Archive, uno spazio digitale in continua evoluzione che consente l’accesso a vari tipi di risorse, permettendo di preservare e diffondere la conoscenza. Questa biblioteca di Internet archivia non solo i contenuti digitali e le istantanee delle pagine web, ma anche immagini, audio, video e software. Il progetto indaga la diversità delle rappresentazioni che emergono dalle ricerche online, esplora come l’individuo concepisce il corpo attraverso la selezione e il caricamento di contenuti nel mondo digitale. Utilizzando la parola “body” come filtro principale per la selezione delle immagini, S/N 267 prende la forma di un album di figurine dove ogni immagine racconta una storia unica, a volte estremamente personale, e riflette la ricchezza e la varietà dei contenuti caricati dagli utenti. This is a students research project. No commercial use has been made. The images for this project has been sourced from the Non-profit platform Internet Archive, therfore all the rights of the images used for this project are to be given to their corrispective authors.

From the intersection between Sign Language and dance, choreographer Laisvie Ochoa, is exploring the feeling of loss. In a duet with Dennis Massar, and using material developed with Anneloes van Schuppen, the work presents a visual expression of movent that seeks to honor what her mother left her.

COLLABORATIVE MUSIC CREATION: leading conservatory students in musical creation processes This research is about the development of active autonomous creativity among conservatory students in classical departments. In this exposition I will discuss the nature of collaborative creation processes, and critically investigate my own role as a coach and facilitator of these processes in order to better understand how ideas are being generated, developed and ultimately shaped into a performed piece. The investigation will be illustrated with a selected number of projects I have been involved in during the years 2017-2020.

This exposition explores the concept of speculative utopias within artistic research, offering glimpses into potential futures at the intersection of artistic imagination and futures thinking. Developed as textual concepts, these speculative utopias serve as vehicles for envisioning inclusive and sustainable futures, addressing complex socio-economic, cultural, and environmental challenges. The study employs a multidisciplinary approach by integrating aerial photography of Iceland’s landscapes with futures thinking methodologies and artistic research practices. These photographs function not merely as documentation but as speculative utopias that prompt critical reflection on climate adaptation, socio-political transformation, and public engagement. A unique aspect of the research is the use of artificial intelligence (ChatGPT), which supported iterative narrative development and reflexive inquiry. Through this exploration, the research offers alternative visions for resilient futures catalysing transformative dialogue and deepening reflection on the politics of the present while imagining possibilities for the world to come.

This article discusses four artworks that employ artificial intelligence (AI) as practice as research (PaR) by artist Garrett Lynch IRL. These are: I’m not Garrett Lynch IRL – DoppelGANger Portraits (2021), a series of Generative Adversarial Network (GAN) portraits; TheLastStraw (2021–23), a performative generative artwork for social media; Flag for States of Damage (2018), a performative mixed-reality artwork for the web and The Traveller (2024), a four-channel video installation with artefacts. The objective of the works is two-fold. Firstly, each artwork’s use of AI is distinct yet is intended to form part of a broad ongoing exploration of how networks can be transformative to art practice. The works maintain that AI is a form of network that enables emergence. Not the emergence of intelligence as defined in the field of AI, but instead in the context of art theory a manner in which artworks are expanded, extended or activated beyond their artist/author defined forms. AI as a network is therefore defined as both the generative adversarial network, the input, employed in the formation of the work and the resulting network of artist, artwork and audience that emerges when a work is expanded, extended or activated. Secondly, instrumental in facilitating AI as a network is the use of language as a combined form of encoding and performative utterance (Austin, 2018). Building on a fundamental basis of computing that all digital media is reducible to language, code, and numbers as well as a basis of communication theory that language is a social construct, the works explore language as both form of representation and communication between human and machine. Language enables a process of folding (O’Sullivan, 2005) or flipping (Sloan, 2012) of concepts, media and artefacts between ‘virtual’ and ‘real’ spaces, between digital and materialised forms.

Interested in how photographs are constituted, this exposition situates itself in between materialities of photography to discover how photographs are actualized. Using photography as artistic research practice, it uncovers how matters, sounds, bodies, and machines intra-act within the practice of photography. The inquiry challenges the bifurcation between the outside/inside of the frame, rather it emphasizes its fluid nature. It delves into the cosmogenesis of a photograph exploring the multiple folds and transformations in actualizing a photograph revealing the intricate and dynamic assemblages of humans and non-humans from the outside folding with the inside. Thinking with Gilles Deleuze's concept of the Folds, the exposition was able to surface layers upon layers of bodily and material folds that trouble the traditional notion of photographs as images separated from the outside. In the middle of its messiness, the exposition was able to develop an Applique technique as a method of knowing that emerges from this artistic research practice. What came out are layers of images that describe photography as performative movement of matters and bodies, a metamorphosis of infinite images while navigating the rich culture of Vietnam’s Hanoi capital.