Research Catalogue

Micro-practices for a New Gentleness is a score of 18 prompts, each presented as a statement and as a pose. Stewarding randomly assigned statements/poses, participants in a workshop engage in focused conversation on a topic of their choice. The name, Micro-practices for a New Gentleness, was inspired by diagram artist and philosopher Félix Guattari, who in The Three Ecologies asks to “organize new micropolitical and microsocial practices, new solidarities, a new gentleness, together with new aesthetic and new analytic practices.” The prompts and poses were developed through a co-creation process, working through what it is that happens when we enact affirmative critique.

IRA es el proyecto de creación en el que la compañía de danza inclusiva ConCuerpos se embarca en el 2021 gracias a la invitación de co-producción del Teatro Mayor Julio Mario Santo Domingo. Se trata de una pieza a modo de tríptico que aborda el tema de la ira como sentimiento que surge frente a la injusticia y que tiene el potencial de ser transformador social. Tres coreógrafas, dos nacionales y una internacional, presentan su propia perspectiva frente a preguntas como ¿dónde habitan las diferentes expresiones de la ira en el cuerpo?, ¿de dónde surge y cómo se transforma este sentimiento?, ¿qué puede movilizar la ira más allá de la destrucción?, ¿es la ira parte de nuestra identidad sentimental como colombianos y colombianas? Si bien la obra se compone de tres piezas, en su conjunto desarrolla un lenguaje artístico basado en la noción de Accesibilidad Universal.

Silence surrounds us, silence around us – On creativity in communication is pre-artistic research for Green x (2022 –). Is language the tool? If it is yes, what kind of tool is the language? Through the language, what can we produce and provide? Thereby, I address the topic of creativity in communication in reading silently, speech, and listening. On creativity in communication is a play to draw models. Thereby the leitmotif is "reading". Critical seeing in a model on reading subjectivity and objectivity at the online artistic representational level, Question for on creativity The research objective(s) is a future idea for physical space and its mobility within virtual space (potentiality) for a new type of idea for notation between tradition and modernity. In this aspect, towards international communication gaps between tradition and modernity, DADA solved the issue of communication and explored a new way of communication, that was not a philosophical metaphor, but rather that consisted of semiotics and semantics in the context of design, was creative. – New visual and auditory codes. Thereby I deal with “Tractatus” - logico of philosophicus, that is a logic of nonsense by Wittgenstein in the theme of space, body and time.

The paper conducts an autoethnographic case study of the Amazon Echo smart speaker to explore problems of acoustical privacy at home. A gap in surveillance research is addressed by treating smart speakers as private social media platforms that connect users to sound, devices, and home environments. The concept of aural expectations of home is developed which expresses how dwellers live with and through sound. The paper argues that problems of acoustical boundary control in the domestic sphere not only help understand the communicative and socially connective aspects of smart speakers, but also illuminate surveillance issues as one’s sonic habits at home are rendered as data under the purview of corporations.

This research project was conducted at the National Film School of Denmark. Video Sketching as a Foundational Tool. Video sketching in this context means working in audiovisual form to create an intermedia in the development of a proposed audiovisual work. It is a tool to create the foundation on which further development is based. It is also foundational, in the sense that it’s a method for working with qualities that are native to languages of cinema, and therefore difficult or impossible to manifest in words. The research springs from a personal artistic praxis as a filmmaker, video artist, screenwriter and director with experiences from art installation, narrative fiction and cross-over documentary works, in a Danish and European art house cinema context.

“HONEYMOON IN POMPEII – work-in-progress” is an artistic research project conducted at the National Film School of Denmark. In it, I explore transmediality through the production of a prototype artwork spanning film, literary text, sculpture, and virtual reality all loosely inspired by the archeological technique used to cast the Pompeian victims of the Vesuvius eruption in 79 ad. I describe my initial inspiration and how I changed my intentions of exploring a consistent storyworld to more abstract associations and themes and the different collaborative efforts in producing the four parts of the prototype (a test not meant for public exhibition). The prototype ended up consisting of: 1) A film representing a foot specialist helping a costumer try running shoes in a sports store but showing an obsessive interest in her feet and crossing her personal boundaries. 2) A literary text consisting of selected passages of Wilhelm Jensen’s short novel “Gradiva” (1902) translated to Danish in which we meet the young archeologist Norbert Hanold and notice his obsession with an ancient bas-relief portraying a young woman walking. 3) A sculpture consisting of four transparent plastic reliefs depicting a walking woman (copies of the bas-relief described in the novel) suspended in a 1x2x2 meter aluminum frame. 4) An erotic virtual reality experience in which the perceiver’s bodily movements affects the virtual world. When moving, the represented scene freezes and vice versa. We conducted a test of the joint transmedia artwork with a small group of respondents who answered a questionnaire reflecting on their experience. I reflect on the respondent’s answers and propose further questions and themes that may be interesting to explore through artistic research: How does one explore transmediality not necessarily in relation to a consistent storyworld but also relying on abstract characteristics? What are the limits (if any) between mixed media art, transmedia art, and installation art? How can transmediality be explored as either a goal in itself or as a development tool for artists working with particular media in mind? Could it be beneficial to explore transmediality through the metaphor of archeology and how?