Research Catalogue

Sheila Jordan, an important female singer in the history of jazz vocals, and an exploration of her life and musical characteristics.

This exposition gathers a series of visual and linguistic investigations in which signs, form, and the space between them construct expressions that invite multiple interpretations. Here, propositions are understood as attempts, movements, and modes of thought. Between sign and form, a space emerges where meaning can be brought into play – where rhythm, structure, wonder and quietness may interact as an expanded practice of seeing, reading, and listening.

The audio essay Sonic Fictioning: Podcasting as a Lure for Feeling introduces the concept of sonic fictioning through Schizopodcast – a sonic artwork presented as a web application and later published on Research Catalogue: https://www.researchcatalogue.net/view/1894089/2463127. Schizopodcast: A Podcast is a Podcast is a Podcast builds on Deleuze-Guattari’s ontology of immanence, viewing nature as an autopoietic force. It frames sonic fictioning not merely as an abstraction but as a resonant dispositif, shaped by its physical, cultural, and political contexts. Rather than opposing lived experience in late capitalism, sonic fictioning enacts a speculative flight, a ‘lure for feeling’ in the Whiteheadian sense. Used as a verb, fictioning is a practice of fabulation that connects to the real through sound, challenging the opposition between fiction and reality, producing or altering worlds. Schizopodcast asks how one might live, and how sonic fictions affirm this question. It examines the philosophical and practical implications of sonic thinking in reflecting on perception, understanding, and loopholes. The audio essay continues this exploration of sonic fictioning’s aesthetic and epistemological aspects as a lure-for-feeling. Though speculation may not reveal truths, it highlights fiction’s aesthetic value and its conveyance of corporeal knowledge.

On drawing as a practice of the in-between in the sense of the Japanese concept ma. Using the Sketch&Draw method, it is shown that drawing is neither mere representation nor pure invention, but a dialogical process between perception, memory, hand, and world. Neuroscientific models such as Predictive Coding demonstrate that each line is a proposal by the brain of how the world might be, which is then fed back and refined in the process of drawing. The hand appears not as a mere tool, but as a thinking organ, tightly coupled with perception and memory. Referring to Mihály Csíkszentmihályi’s theory of Flow, it is shown that the immediacy of hand drawing – in contrast to digital procedures – is decisive for entering a state in which perception and action seamlessly merge. Philosophical perspectives from Maurice Merleau-Ponty and Tim Ingold highlight that the line is not merely a boundary, but a resonance space in which the invisible can become manifest. Drawing thus proves to be a process of knowledge, one that unfolds slowly, comparable to a species-rich meadow: unplannable, yet not random. In the in-between of world and subject, line and gaze, a form of knowledge emerges that can be understood as Intelligens – a creative third way beyond control and helplessness.

Brennan RC

Greyson RC