Research Catalogue

What is OASIS? Does it have a spiritual dimension,or is it something temporal that is shaped by social relationships and achieved collectively? It is about the collective, inclusion, a place of relaxation? Does it have to be about proximity between people or a total isolation in a safe domestic environment and introspection? What happens if, within our social fragility, we leave our personal oasis and enter the public realm, where we are exposed under the gaze of others? If we decide to carry with us , even if it means symbolically , our personal domestic objects that make us feel secure and present , as a shield against the uncertainty of the outside world? Is this the answer?

This performance seeks to form visually narratives about gender fluidity, identity, vulnerability, and the sense of the fragmented self in this fast changing world monitored by cameras, frames and the feeling that we are constantly observed . Body is the main research tool, a moving diary. On its surface are imprinted all the stories, desires and fears experienced during the years. They are collected, and then, interpreted kinetically, blurring the boundaries between the material reality, and the reality of the unspoken. A keeper of all the intimate and domestic moments, trying to protect them from the external world. In this journey, Camera obscura is a companion and an opponent.

This research endeavours to reveal the transformative potential of artistic creativity by combining musical improvisation and yoga-based embodied listening practices. The study incorporates three listening practices: humming and self-observation, listening only with the right ear, and listening to the space within the heart. The effects of these experiments are documented in a journal and recorded as audio files. In addition to improvisation as a musical practice and embodied listening, this research also considers how yoga, - which has become an important part of Indian culture over the centuries with its roots in Vedic culture - can shape artistic identity through its philosophical understanding of sound, and its perspectives on the human body as a cosmos. The research emphasizes subjects such as the healing power of humming, chakra energy, collective consciousness, energetic centers of consciousness in the human body and their potential role in transforming the artist's identity. The thoughts and experiences in this research are personal, but the content of this article has been written based on these experiences as an attempt to present visions for global musicians to transition their musicianship into a more universal form, and to pose multifaceted questions to the reader. This paper draws attention to different improvisation techniques makam terminology and explores existing literature to open innovative doors based on holistic experience. The findings reveal the vibrant and energetic connections between the effects of music and vibrations on human life and the body, and the various philosophies that nourish the artist's identity and expression. This thesis encourages improvisation as a form of existence to establish deep spiritual connections with experiences from the past and present. Highlighting dimensions of music that are unnoticeable due to existing industrial structures and education models, the most importantly, esoteric knowledge of the body, inviting the reader to be open-minded for all sonic possibilities.

This essay explores Nomadic Aesthetics as a post-disciplinary ethical philosophy grounded in movement, displacement, and moral geography. Through the lens of travelling installations, Dorian Vale interrogates how contemporary art carries not only material form but migratory conscience. Installations by artists such as Francis Alÿs, Mona Hatoum, Chiharu Shiota, and Khalil Rabah are examined not as static works, but as mobile testimonies—witnesses to border regimes, global inequality, and spiritual unbelonging. The essay argues that when art moves, it inherits moral weight: the crate becomes a coffin, the gallery a customs post, and the viewer a pilgrim. Nomadic aesthetics reframes mobility not as logistics, but as liturgy. It positions the travelling installation as a modern secular relic—bearing not truth as monument, but truth as residue. This is a theology of movement: truth that survives only by circulation. Title: Nomadic Aesthetics — Travelling Installations as Moral Geography Keywords: Post-Interpretive Criticism, Nomadic Aesthetics, Installation Art, Moral Geography, Migrant Artworks, Travelling Exhibitions, Globalization, Francis Alÿs, Mona Hatoum, Ai Weiwei, Chiharu Shiota, Khalil Rabah, Ethics of Movement, Conscience in Contemporary Art, Aesthetic Displacement, Witnessing, Museum Critique, Portable Truth, Moral Cartography License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) Publication Year: 2025 Movement / Framework: Post-Interpretive Criticism (The Museum of One) DOI (Placeholder until generated): [To be automatically assigned by Zenodo] Journal / Series: The Journal of Post-Interpretive Criticism (ISSN 2819-7232) Volume: III Publisher: Museum of One (Registered with Library and Archives Canada) Persistent Identifiers: ORCID: 0009-0004-7737-5094 ISNI: 0000000537155247 Wikidata: Q136308879 (Museum of One)

This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, performance, production, and technology. This interview features Caroline Shaw, American composer, violinist, singer, and producer, whose work moves fluidly between concert music, studio production, and film scoring. Winner of the Pulitzer Prize for Partita for 8 Voices, Shaw combines historical sensibility with experimental curiosity, creating sound worlds that merge the human voice, instrumental gesture, and digital texture into a single expressive continuum. In the conversation, Shaw reflects on the interconnectedness of composing, producing, and performing; on the role of technology as both a creative and tactile medium; and on the shifting perception of time, form, and space in contemporary music. She also discusses the relationship between notation and sound, the dialogue between acoustic and digital realms, and the value of presence, collaboration, and shared listening as vital counterpoints to digital mediation. Shaw’s reflections reveal a vision of music as a living organism, at once human, technological, and emotional, where composition, sound design, and performance converge into an embodied act of imagination and connection.

Desire Machine is an artistic research project that examines collaborative creation through the conceptual framework of Deleuze and Guattari’s theory of assemblage and desiring machines. Developed as part of the Atlas of Smooth Spaces research initiative, the project explores how movement, sound, and algorithmic systems can function as heterogeneous components within a non-hierarchical and non-representational assemblage. Real-time body data, generative soundscapes, and responsive lighting are integrated via a recursive feedback structure, allowing for emergent behaviours and dynamic modulation across media. Rather than focusing on disciplinary integration, Desire Machine proposes a co-functional space defined by distributed agency, where artistic production unfolds through competencies and material relations. The project offers a methodological proposition for rethinking compositional practice as a site of continuous negotiation, transformation, and becoming.