Research Catalogue

'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability. The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores that guide our simultaneous actions while walking on the street –interacting with public spaces and their characteristics– or while lying asleep –in the most private of spheres. On the one hand, in a practice we call ‘non-local walking’, scores conduct our collective experiencing of our cities, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. On the other hand, the ‘entangling dream practice’ experiment is an attempt without aiming at success of meeting each other in our dreams. Both investigations are conceived as boundary-crossing transdisciplinary methodologies through which we create a relational, critical consciousness and sensing that stimulates unexpected outcomes, embracing failure. These scored performances have resulted in cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations, unexpected connections, constellations, and coincidences e/merge, unveiling yet unheard polyphonies that give resonance to the urban and mental spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.

LGP Performative Method Embodying Creative Transitions Through Project-Based Immersion The LGP Performative Method is a transdisciplinary support system designed for artists, entrepreneurs, and hybrid professionals navigating complex creative transitions. Rooted in performance, psychoanalytic insight, and ritualized thinking, the method invites participants to engage deeply with their emotional landscape and personal image as they develop projects that are both intimate and public. This article presents the conceptual pillars and the evolution of the method through performative installations, site-specific experiments, and testimonial archives. Unlike coaching or therapy, LGP works by immersive presence and symbolic acts that reorient the practitioner in relation to their project, their desire, and their audience. With a focus on Erotic Leadership, Liminal Psychoanalytic Fashion, and Project Reconfiguration, the method offers a dynamic toolkit to support non-linear processes and facilitate creative emergence. The piece includes visual documents, field notes, and reflections on what it means to be a body-in-process building something real.

Performative Paradigm for Businesses Reconfiguring Strategy, Presence and Creative Leadership This article introduces the Performative Paradigm as an innovative framework for business development, leadership and strategic positioning. Moving beyond traditional rational models, the performative approach integrates embodiment, narrative, and emotional architecture into the very core of professional structures. Rather than separating personal presence from strategic decision-making, this paradigm understands the body, desire, and symbolic expression as essential tools for navigating uncertainty and generating sustainable innovation. Drawing from performance studies, psychoanalytic thinking, and affect theory, the article explores how performative logic can be applied to projects, teams, and leadership styles—especially within multidisciplinary or creative industries. Far from being abstract, the paradigm proposes concrete methodologies and real cases where performative alignment has shifted business dynamics: from burnout to embodied clarity, from fragmentation to integrated vision. Aimed at entrepreneurs, consultants, and visionary leaders, this article opens a liminal path where doing and being converge.

As a tourist in London during the late 17th century, it was mandatory to visit the House of Bedlam, the biggest mental institution in the city. The patients, being considered completely unreasonable, were attributed animalic characteristics, which was reflected in the brutal treatment behind the bars. The ultimate mirroring of the culture of exposing madness could be found in the theatre. Composers for the theatre, in wanting to explore the inability of reason in humanity, wrote The Mad Songs, where the madness is reflected in quick shifts in emotions. These songs have been my tool to gain access to a broader palette of expression in singing. I have developed a handbook of historically informed techniques and documented my process of embodying them, using sources such as Le Brun's "Conférence (...)" (1698); Walter Charleton's "Natural History of the Passions" (1701); Aaron Hill's "The Art of Acting" (1753); and George Vandenhoff's "The Art of Elocution" (1846). My quest for madness has also become a quest for genuinity. When Charles Le Brun conveyed his theory of expression on canvas, he strongly distinguished the difference between painting tense muscles and painting genuine expression. This has become a guideline for my research: in order to gain genuinity, one has to channel a reaction and produce an impulse. This study is an attempt to bridge the gap between now and then, allowing for a deeper understanding of the Mad Songs, as well as encouraging others to dive into theatrical repertoire on its own premises.

This research and project will aim to answer the question "How can I run an effective workshop for students on the Natural Horn?". In preparing for a workshop, I will explore what to include to give young students from age 9 and up a fun and interesting learning experience. Students will be able to build their own horns from hosepipes and funnels, and then experiment and perform with these instruments and hopefully leave inspired in their own journeys with the early horn. I aim to document the necessary elements to create an interactive and educational experience.

This research explores the use of allegory and symbolism in Johann Sebastian Bach’s Six Solo Violin Sonatas and Partitas (BWV 1001-1006). The central inquiry is how Bach incorporated European allegorical and symbolic ideas into his music. Key aspects of this investigation include understanding how Bach applied symbolism through ornamentation, tonality, and numerical values. The study raises several questions: What were the common allegorical ideas in Europe at the time? Is there a consecutive story behind the Sei Solo? How do symbols relate to the piece? Additionally, it will examine how allegories (which is more common in literature and art) manifest in his Sei Solo through musical gestures like messa di voce, harmony hierarchies, and inflections. This research is dedicated to all the curious minds exploring allegory and symbolism in music—from those newly discovering J.S. Bach to devoted Bach lovers, students, and professionals.