Research Catalogue

Pagina para recopilar los textos y ejercicios del modulo, Sensilidades del lenguaje.

A silence lingers where words once stood, a fragile pause between what was said and what remains forever untold. I’m gonna build the cemetery of echoes, words suspended in time, each gaze a question, each absence a weight. Fragments of lives held in stillness, unfinished moments longing for release. Across the space, words rise like shadows. Memory dances with loss, the tangible and the fleeting entwined. It is not closure we seek, but the tender acknowledgment of incompleteness.

Transmutations seeks to redefine the term transformation through a staged concert — a concert conceived as a work of art in itself. The traditional concert format and conventional performance practices are showing signs of stagnation, thus calling for the emergence of a voice adapted to this transformation. The boundaries of music, especially within the classical realm, have gradually blurred in recent times. Increasingly, artists are exploring the concert as a form of expression that not only integrates other artistic disciplines but also embraces technological advancements. This approach challenges traditional aesthetic conventions and the notion of genre and musical style. The omnipresence of technology in contemporary society underlines the need for research that explores the many possibilities of the concert format. This staged concert aims to redefine the concept of transformation by avoiding any stylistic boundaries. The works of Richard Strauss, John Cage, and Alexander Schubert are included not only for their artistic value but also for their contribution to the very notion of transformation.

Research Paper of the Royal Academy of Art, The Hague, 2023 MA Interior Architecture (Inside) Public space is defined as “ an area or place that is open and accessible to all people, regardless of gender, race, ethnicity, age, or socio-economic level. These are public gathering spaces such as plazas, squares and parks”. Public spaces that bring together a great diversity of people are therefore designed as “zero friction” spaces, but when in use, people will experience friction. This research paper focuses on how one constructs territories within the public realm and how this can both foster participation for those who can identify themselves with the activities within the territory and others who do not -to depart from a space. This creates fear tendencies against the unknown and in order to maintain a certain behavioral control, objects are being modified, removed and designed to prevent certain behaviors and user groups from territorializing certain spaces from happening. One territorial action is found in the action of skateboarding. Skateboarders do not only foresee opportunities for action through the use of affordances within the public realm, but also territorialize the space through extractions, additions, and public interactions for their action to be possible. Skateboarding might be considered an action that excludes certain user groups from using the public space if territorialized by the skating community. Yet, on the contrary, skateboarders see opportunities for action within the public realm through affordances that might not be obvious to the naked eye and therefore creates another level of interaction and encounters which may alter the behavioral corollary within the space. If skateboarders see the user value of public space through affordances and claim elements within the space through action, does their territorialization of the space actually negatively impact the space? Or do they introduce a new user value of the space that furthers behavioral actions and introduces new encounters? Therefore, this research paper reflects on how a skateboarder's perspective of the public realm criticizes how we use space and reveal new design potentials for a multifunctional public space.

Thesis of the Royal Academy of Art, The Hague, 2022 Master Photography & Society As photographers we make, sell and consume digital images, and the digital space and its audiences are growing exponentially. But every conversation on circulating photography centres on the object, about books or exhibitions. It seemed like there are images, and there is photography. Why are the two diverging? Radio evolved into podcasts. TV turned into TikTok. This thesis, then, sets out to ask what it is that photography says it does, or thinks it does, and what it actually does in the age of the smartphone. Critics love to tell their readers that photography is dead, but for some reason you can find all those same critics cheerfully posting their lunch on Instagram. This thesis is an invitation and a challenge to photography, to admit that things have changed and to embrace this as an opportunity rather than a threat.

Thesis of the Royal Academy of Art, The Hague, 2023 MA Photography and Society This study examines what roles images can play in the disclosure of discipline within the Dutch political settlement known as the polder model. On November 24, 1982, the Accord of Wassenaar formalised the contemporary Dutch socio-economic and political character by adopting a method of corporatist consensus seeking and decision making between capital, the state, and labour called the ‘polder model’. The polder model has its origin in the creation of a key feature of the rationalised Dutch landscape, reclaimed sections of formerly submerged land known as ‘polders’. This study draws a connection between the signing of the Accord of Wassenaar and the historically rooted labour discipline of residents of the artificial landscape of the Netherlands. Incorporating archival material, visual experiments, case studies and descriptions of field visits, this study reflects on the role of the praxis of the image maker through artistic research, and emphasizes the disciplined character of the Dutch landscape. These concerns are examined through discussions of the artificiality of nature in the landscape, the grid, the signing of the Accord of Wassenaar, and invisible labour. Through visual interventions in the materiality of cartographic and national archival material, this study argues for a more broadly-encompassing praxis of the representation of power mechanisms in the artificial Dutch landscape. Through the juxtaposition of different visual interventions in the Dutch landscape, an alternative situational understanding of the position of the viewer in relation to the polder is proposed.