Research Catalogue

This is the working document of a six-month residency with the Sound and Image Research Centre at the University of Greenwich, summer 2025, funded by the Arts Council England DYCP program. As an exposition, it records the field trip element of the project and begins to explore the role of spatial audio composition and installation in forging deeper relational connections with place. Ultimately, it asks whether the spatial audio encounter alters the subjective position of the human listener towards a more posthuman subjectivity. As the project evolves more will be added with the hope of an eventual live performance of selected compositions and a broader exposition on the role of field recording as a compositional method.

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).

This paper is an exploration of collaborative artistic practice. Drawing from contemporary philosophy and ethics, it uses practical experience from three collaborative research projects to show how different approaches can be applied in artistic research. The paper draws from three collaborative research projects, each with a slightly different approach. The projects took place between 2018 and 2023, and include collaboration between artists, collaboration with more-than-human colleagues, and research collaboration.

Wearing a garment can serve as a metaphor for inhabiting the city. In both cases, a space built on a human scale is occupied, excluding everything else. Spontaneous vegetation moves slowly, so as not to be noticed. Meanwhile, the city grows and alters it, leaving an indelible mark on its form. The silhouettes of pruned plants, twisted and unnatural, resemble anthropomorphic figures, and the scene becomes suspicious. The “Costumes” series consists of disguises created from models of plants spotted in urban environments. Their shape prevents other life forms from wearing them.

This text is a sustained philosophical exploration of silence as an aesthetic, ethical, and epistemic medium. It examines silence not as the absence of sound, but as a generative presence that structures perception, meaning, and artistic encounter. Within the framework of Post-Interpretive Criticism, silence is positioned as the original ground from which expression emerges and the final condition to which all expression returns. The treatise analyzes distinctions between silence as containment and silence as erasure, arguing that the ethical force of silence lies in its use: it can dignify the unsayable or be weaponized to suppress and marginalize. The work draws on cross-disciplinary examples from sculpture, poetry, music, film, and museology, illustrating how restraint shapes the architecture of experience. It argues that silence is foundational to perception, authorship, and criticism, and that the erosion of silence in digital culture has produced a contemporary “poverty of depth” characterized by immediacy without intimacy. Within the museum context, the text advocates for silence as a curatorial principle—an element of spatial ethics that allows artworks to be encountered with attention rather than overwhelmed by spectacle or interpretive noise. It further articulates the responsibilities of the artist and the critic: the artist must discern which silence they invoke; the critic must understand which silence they break. This essay contributes to ongoing discussions in contemporary aesthetics, museum studies, and critical theory by reframing silence as an essential but endangered cultural resource. It presents silence as an uncommodifiable medium that resists institutional, linguistic, and commercial capture. The work aligns with and expands the theoretical commitments of the Post-Interpretive Movement, emphasizing moral proximity, restraint, and the ethics of presence. 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), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881)