Research Catalogue

Dit is een onderzoek naar 'het kunstzinnige' in het (professioneel) leven van alumni die, tijdens hun opleiding tot pedagogisch coach, werden ondergedompeld in een bad vol kunst en cultuur, vanuit de overtuiging dat dit hen zou verrijken in hun werk, in hun leven en hopelijk, misschien, in beide.

WITHDRAWING THE PERFORMER WITHDRAWING THE PERFORMER is conceptualized and conducted collaboratively by Charlotta Ruth (SE/AT) and Jasmin Schaitl (AT). The starting point are two artistic practices based on methods of mindfulness and game/play; Performances for the Mind and Choreographic Clues. These two individual perspectives on participation emerge from the project leaders’ ongoing artistic research and merge in their common artistic curiosity in the facilitator role and facilitating the creation of immaterial material. Accompanied by neuroscientist and performer Imani Rameses (US/AT) the research asks: How does immaterial material perform within participatory situations? What role does participatory setting play and how does participation differ if situations are communicated as a workshop, a treatment, a practice or a performance? How can neuroscience support how immaterial and participatory art practices are developed and described? What relation exists beyond involvement and how can a participant become the situation rather than being part of a situation? What has to occur in the mind and body for this to happen? Through practice and dialogue conducted with experts in the fields of contemplative sciences, sound art, choreography, game art and somatics, the research explores how input from participants (e.g. memory, thought, emotion) can be placed at the centre of a flexible yet framed performance situation. WITHDRAWING THE PERFORMER was realised in collaboration with the Angewandte Performance Laboratory 2021-2022. In the course of the project, a lecture was given at the Center for Didactics of Art and Interdisciplinary Education, and a public series was realised at Kunsthalle, Wien & Angewandte Performance Lab. Collaborating expert practitioners and dialogue partners are: Philipp Ehmann (AT), Nikolaus Gansterer (AT), Mariella Greil (AT), Dennis Johnson (US/AT), Anne Juren (FR/AT), Krõõt Juurak (EE/AT), Imani Rameses (US/AT), Christian Schröder (AT), Lucie Strecker (DE/AT).

Keywords: access, censorship, document, knowledge, language, navigation... For a few weeks, a group of peoples gathered and had for agenda to approach "research" in education(s) and in the context of Art as part of Societies. Investigating/reading/questioning traces (signs, clues, memories, facts, datas) and shadows of knowledge systems, circulations, and accesses - including active translations and reflections on perceptions - they discussed the status of "document" and values of knowledge in relations to the modalities of their publications and presences within the context of a library. The group decided to focus on analogue research methodologies. Extracted? Outdated ? Archived ? Censored ?

The First Break Since Postmodernism: The Rise of Post-Interpretive Criticism introduces a groundbreaking movement in contemporary art criticism that formally departs from postmodernism and post-criticism. Post-Interpretive Criticism (PIC), developed by writer and founder Dorian Vale, redefines the role of the critic through five foundational frameworks: Absential Aesthetics, HauntMark Theory, Stillmark Theory, Viewer-as-Evidence, and Message Transfer Theory. These concepts prioritize ethical presence, moral restraint, and reverent witnessing over traditional interpretation or theoretical dominance. Structured as a philosophical reorientation, PIC positions criticism as an act of custodial attention, not conquest. It emphasizes proximity without possession, silence without erasure, and writing as transformation rather than performance. Unlike movements born from academic consensus, PIC was authored and launched independently through the Museum of One, with formal infrastructure including DOI-linked publications, public archives, and a living lexicon. This work argues that Post-Interpretive Criticism is the first fully articulated philosophical school of aesthetic thought to emerge since postmodernism—complete in theory, practice, and authorship. It reclaims criticism not as explanation, but as responsibility. 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. 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)

Duchamp’s Second Cut: This One Bleeds Differently By Dorian Vale A Post-Interpretive Reassessment of the Readymade Duchamp made the first cut. This is the second — and it bleeds differently. In this radical essay, Dorian Vale returns to the surgical table of modernity, where Marcel Duchamp first incised the body of art with the invention of the readymade. But where Duchamp’s cut was conceptual — clean, ironic, institutional — Vale’s is existential, ethical, and slow to clot. This second cut is not a gesture. It is a wound. And in its bleeding, it reveals what the first incision left behind: the soul of the object. “Duchamp’s Second Cut” is not a rejection of the readymade — it is its haunting. It asks what happens when irony dries up and presence remains. It dares to reanimate the art object as sacred remnant rather than institutional provocation. In this essay, Vale does not interpret Duchamp — he answers him. Through the lens of Post-Interpretive Criticism, Vale reframes the legacy of the readymade, arguing that the true violence was never in the urinal, but in the severance of proximity, touch, and moral presence. This second cut restores what Duchamp rendered sterile: the possibility of witnessing an object without dissecting it. 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. Vale, Dorian. Duchamp's Second Cut: Duchamp made the first cut. This is the second, and it bleeds differently.. Museum of One, 2025. DOI: 10.5281/zenodo.17056223 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) Dorian Vale, Duchamp Second Cut, Post-Interpretive Criticism, readymade reinterpreted, Duchamp critique, art and ethics, sacred object theory, witness in art, Marcel Duchamp reanalysis, post-critical art theory, anti-irony in art, phenomenology of the object, ethics of viewing, non-interpretive criticism, presence in art, ontology of the readymade, conceptual art criticism, reanimating art objects, museum ethics, slow aesthetics, art and reverence

Language as a Blade The Ethics of Precision in Post-Interpretive Criticism A Treatise by Dorian Vale Language reveals. But it also wounds.** In this incisive treatise, Dorian Vale turns his attention to the sharpest tool in the critic’s arsenal — language — and the quiet violence it enacts when left unchecked. Language as a Blade explores the ethics of writing in the context of Post-Interpretive Criticism (PIC), exposing how words can either guard a work’s sanctity or slit its meaning wide open. Vale develops the central premise that all criticism leaves a mark — but not all marks are made in reverence. The essay introduces critical concepts such as The Interpretive Incision, Lacerated Presence, and Forensic Reading, arguing that even well-meaning interpretations can displace, distort, or dominate the very thing they claim to witness. Through this lens, the work becomes not a subject to be carved open, but a body to be held — with care, clarity, and ethical precision. Language as a Blade is not a rejection of criticism, but a reframing of it as custodial labor. Vale calls for a new art-critical vocabulary that replaces spectacle with stewardship, analysis with attention, and cleverness with moral proximity. This treatise is a foundational text within the Post-Interpretive Movement, sharpening the very language we use to approach art, and reminding critics: every word is a blade. Use it as if the wound remains. Vale, Dorian. Language as a Blade: The Ethics of Precision in Post-Interpretive Criticism. Museum of One, 2025. DOI: 10.5281/zenodo.17052152 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. 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) Language as a Blade, Dorian Vale, Post-Interpretive Criticism, ethics of art writing, language and trauma in art, art and violence, descriptive precision, critical restraint, moral aesthetics, semiotics in art criticism, ethics of naming, language as wound, poetic accuracy, reverent writing, critical interpretation ethics, witness-based criticism, presence in criticism, aesthetic linguistics, post-linguistic art theory, interpretive violence, art writing and harm