Research Catalogue

Esta pesquisa propõe uma instalação com foco em aprofundar uma experiência sensorial, para despertar a sensibilidade das pessoas, em São Bernardo/MA, no Balneário Rio Buriti. São abordados elementos da escuta sensível e consciente, como forma de valorização dos sons naturais e culturais do local. Para a execução da prática, realizamos algumas etapas, como: determinar local, dia e o horário da atividade; elaboração de um mapa mental contendo todas as ideias; retomada da leitura do mapa mental com novas impressões individuais, pessoais, subjetivas, objetivas; decidir sobre a ação em si. Nos desdobramentos desta ação, que envolve escutar, sentir e criar, observamos que a paisagem sonora, termo criado por Schafer (2009), possui todos os componentes para a criação e sensibilização das pessoas em relação aos seus próprios territórios. O autor demonstra sua preocupação com a qualidade da escuta, que está cada vez mais ameaçada pelo problema da poluição sonora, por isso a necessidade de que a população tenha consciência dos sons que nos rodeiam.

877 Beaivvi (lohket) / 877 Days (Count them) er en kunstnerisk videoeksponering om samenes rettigheter, tid, dokumentasjon og repetisjon. Gjennom 360°-opptak fra Ginalvárri (Guovdageaidnu fjellet), protester (Oslo), språklæring (Guovdageaidnu) og kreftbehandling (Oslo sykkehuser) undersøker prosjektet forholdet mellom evidens, traume og kolonial makt.

With Apartment Portraits contemporary music ensemble Lemur and artist Ellen J Røed investigates the rooms we live in through a series of sound and video works for living environments, musicians, microphones, cameras and videographer. Through video art and contemporary music they explored three apartments in Oslo: The oldest of them is a 1970s apartment at Hovseter, the other two are more recent. One is located on Teaterplassen in Grønland, and was built in the early 2000s, while the last one is in Sørenga, built in 2016. In the resulting portraits of apartments, subtle and slow panoramic camera strokes through the apartments explores and portrays the relationship between performed sound and living environments. It tells the story both of the rooms, their owners, the performers’ actions as well as those the videographer. Leilighetsportretter is part study, part concert, part installation, part site specific intervention and part architectural field trip in Oslo apartments. The project is one of four elements in 'Samtaler om rom' – Spatial conversations, where Lemur works in and around the at The National Museum – Architecture´s exhibitions on Norwegian housing architecture. As such the work is part of an interdisciplinary effort to explore new strategies for the presentation of architecture. It is developed within the overlapping research framework Image as Site at Stockholm University of the Arts. Project is supported by The Swedish Research Council, Stockholm University of the Arts, and Norwegian Art Council. The project was presented at The National Museum – Architecture, Oslo in the framework of Ultima festival of contemporary music and Kulturnatt Oslo, at Bomuldsfabrikken Kunsthall and at SKH Research Week 2021.

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

Formal Defence of Post-Interpretive Criticism By Dorian Vale Philosopher of Aesthetics & Founder of the Post-Interpretive Movement This treatise offers the first formal philosophical defense of Post-Interpretive Criticism (PIC) as a distinct and necessary alternative to both traditional interpretation and its later reactionary forms, such as Post-Criticism. Dorian Vale articulates the foundational divergences between PIC and its predecessors, positioning it not as a negation, but as a restorative framework—one that centers restraint, reverence, moral proximity, and the ethics of witnessing. While Post-Criticism often celebrates ambiguity, play, and the dismantling of authorial intent, PIC counters with a sacred custodianship: refusing to exploit the unspeakable, flatten the traumatic, or aestheticize grief. It champions an art criticism that stands beside the work, rather than extracting from it. This defence establishes PIC as a rigorous intellectual position grounded in ontology, ethics, and the philosophy of presence. It is both a doctrine and a declaration—staking its claim in the contemporary critical field as a movement of radical restraint, critical mercy, and aesthetic consequence. 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. Dorian Vale, Post-Interpretive Criticism, PIC doctrine, post-criticism response, contemporary art theory, moral proximity, restraint in criticism, ethical aesthetics, art criticism philosophy, sacred presence, viewer as evidence, ontology of art, witnessing in criticism, custodial criticism, non-extractive theory, aesthetics of mercy, trauma and art writing, art ethics manifesto, contemporary criticism debate, art as presence, art and ontology 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)