Research Catalogue

A new filigrane sound object (or series of objects) in the making, w.i.p.

The Body I Post examines how social media, algorithmic systems, and digital surveillance reshape contemporary understandings and performances of the body. Against the backdrop of theoretical frames leading from Foucault to N. Katherine Hayles, the project at hand scrutinizes the dynamics of shifting gazes, erosion of privacy, and the emergence of the posthuman subject. The work identifies the means by which identities are extracted, categorized, and refashioned through platform infrastructures and biased datasets, by investigating case studies such as Face to Facebook, Amalia Ulman’s Excellences & Perfections, and Trevor Paglen’s ImageNet Roulette. The research combines social experiments, visual references, and personal reflection to explore how bodies are curated for visibility, disciplined by metrics, and archived in ever-expanding digital memory systems. It questions the tension between material embodiment and its algorithmically mediated double and the ways in which humans have become simultaneously users, subjects, and raw data. The Body I Post is about what it means for us to exist as hybrids of flesh and code in an era where self-presentation has become continuous, performative, and inseparable from technological systems.

Professional Doctorate in Arts + Creative is an educational pilot program in The Netherlands for an advanced degree in universities of applied sciences. The PD program at an university of applied sciences is developed to train an investigative professional. This portal is a platform for publishing artistic research generated by the PD candidates. Within the Professional Doctorate program, this portal will also be used as an internal tool for documentation.

Fractured Curation: On the Cost of Discontinuity Author: Dorian Vale In Fractured Curation, Dorian Vale exposes the silent violence of discontinuity in institutional exhibition-making. Drawing from the principles of Post-Interpretive Criticism, this essay critiques not the art on display, but the fragmented and careless curatorial strategies that sever meaning, rupture context, and erode ethical witness. Focusing on spatial logic, visual sequencing, and the absence of coherent narrative threading, Vale reveals how curation can either dignify or disfigure the viewing experience. When works that bear trauma, memory, or moral weight are mishandled—isolated from their context or stitched into spectacle—the institution itself becomes a site of erasure. This essay stands as a manifesto for curatorial reverence. It reclaims the role of the exhibition not as entertainment or aesthetic collage, but as a moral architecture—one that must be approached with continuity, restraint, and care. The cost of ignoring this? A public who walks through beauty without bearing its consequence. Vale, Dorian. Fractured Curation: On the Cost of Discontinuity. Museum of One, 2025. DOI: 10.5281/zenodo.16996506 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, Post-Interpretive Criticism, fractured curation, curatorial ethics, art exhibition critique, museum responsibility, trauma in curatorial practice, continuity in curation, moral proximity in exhibition design, witnessing through curation, ethical curation, spatial narrative in museums, careless curation, art and erasure, institutional critique, aesthetic sequencing, exhibition as architecture, custodial art criticism, reverent exhibition design, post-critical museum theory, viewer disorientation, discontinuity in art spaces

Thesis / Research Document of the Royal Academy of Art, The Hague, 2025 BA Interior Architecture and Furniture Design Summary (8968)

This concise study guide introduces the foundational framework of Post-Interpretive Criticism (PIC)—a new aesthetic philosophy that centers presence, moral proximity, and restraint in the practice of art criticism. Developed by Dorian Vale, the guide breaks down PIC into five core principles: Restraint over Interpretation Witness over Commentary Moral Proximity over Objectivity Viewer as Evidence Rejection of Performance Each principle is accompanied by a brief case study, reflection exercise, and ethical commentary, making this guide suitable for students, educators, curators, and critics seeking to apply PIC in the field. Instead of decoding the artwork, this framework encourages a posture of reverent presence, allowing the artwork to retain its autonomy and moral gravity. This resource is designed to be taught, discussed, and practiced. It supports classrooms, curatorial programs, writing workshops, and museum education—inviting a new generation of viewers to approach art with humility, silence, and philosophical depth. Vale, Dorian. Five Principles of Post-Interpretive Criticism: A Study Guide. Museum of One, 2025. DOI: 10.5281/zenodo.17077734 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) Post-Interpretive Criticism, study guide, art education, critical theory, Dorian Vale, aesthetic philosophy, viewer as evidence, slow looking, ethical criticism, trauma in art, art pedagogy, witness-based art criticism, art classroom resource, art and ethics, moral proximity, presence over interpretation, contemporary criticism, museum education, poetic criticism, art curriculum