Research Catalogue

This thesis stems from the need to investigate an original painting technique developed by the author, which combines figurative painting and solidified atmospheric phenomena. The heart of the research is a simple and radical question: How can an ephemeral phenomenon be made permanent? The answer takes shape through the creation of sheets of solidified rain, transparent membranes that preserve the logic of the drop, the flow, the surface tension. These membranes are superimposed on figurative paintings, generating a multidimensional visual language. Transparency is not an aesthetic effect, but a temporal device: it freezes the work, suspends it, holds it in an eternal instant.

Esta web es producto digital del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas. Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración. Con la realización del proyecto, se busca incentivar el uso de la narración gráfica como proceso horizontal que permite relatar y revisar la importancia que tienen las prácticas artísticas de las comunidades en la construcción de tejido social. La propuesta de mediación artística se visibiliza como una estrategia colaborativa que permite el diálogo y el intercambio. El trabajo se inscribe y contribuye a las apuestas del Grupo de investigación para la creación artística y de la Línea de investigación en: Estudios críticos de las corporeidades, las sensibilidades y las performatividades. Adscritos al doctorado en estudios artísticos de la Universidad Distrital Francisco José de Caldas.

Introduction This research investigates the possibility of transforming ephemeral liquids—primarily seawater and rain—into solid, stable, and optically active materials, within the methodological framework of the Divergent Gaze, a phenomenological protocol that considers imagination as a pre-scientific hypothesis capable of being empirically verified. The artist does not simply observe matter, but interrogates its molecular stability, manipulating transition states to arrest fluidity without destroying the identity of the liquid itself.

This dataset presents a quantitative diagnostic analysis of critical posture in contemporary art writing across a forty-five-year span (1980–2025). Using the Post-Interpretive Criticism (PIC) diagnostic framework, twenty influential texts drawn from journals, newspapers, magazines, institutional press releases, and exhibition discourse were coded sentence-by-sentence to examine how critical language positions itself in relation to artworks, viewers, and institutional authority. Five indices were applied: Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI). Rather than evaluating interpretive correctness or aesthetic value, the framework isolates how critical claims are produced—measuring the balance between descriptive encounter and explanatory force, the degree of viewer displacement, the presence or absence of linguistic restraint, and the extent of institutional mediation. The dataset demonstrates that high rhetorical intensity does not necessarily correlate with high interpretive extraction, and that ostensibly “plain” theoretical language frequently produces maximal displacement. Across historical periods, the results reveal recurring postures—verdict-driven criticism, theory-dominated explanation, affective populism, and market-aligned promotion—each identifiable through distinct metric profiles. The findings provide quantitative support for a central claim of Post-Interpretive Criticism: that the ethical stakes of art writing reside not in what criticism concludes, but in how closely it remains to the conditions of encounter. This dataset is offered as a reflective and exploratory diagnostic resource, not a prescriptive model, contributing a formal complement to phenomenological and post-hermeneutic approaches in contemporary aesthetics. 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),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946) ISSN 2819-7232 Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. ORCID: 0009-0004-7737-5094

Journalistic storytelling should move away from the hero narrative. Instead, drawing on Ursula K. Le Guin’s Carrier Bag Theory, it should adopt a “carrier-bag” perspective: to gather, carry, and connect—collecting attentively, bringing home what matters, and linking insights through pencil-based drawing. Drawing becomes a journalistic method for deepened research. Through the nouvelle histoire (Annales School, longue durée) and the sculptural contrast between Rodin (monumental condensation) and Medardo Rosso (fragile appearance), the text shows how attention to everyday life, materiality, and in-between spaces generated new forms of relevance and helped initiate social shifts. Drawing is proposed as a research practice that makes complexity visible, marks uncertainty, and enables more peaceful, context-rich modes of storytelling in newsrooms and teaching.

Questa esposizione fa parte di un progetto di ricerca artistica più ampio, articolato in diverse declinazioni. Il focus presentato si concentra su un’indagine specifica della violenza attraverso il dispositivo dell’auto-conferenza, intesa come pratica performativa e riflessiva. La ricerca prende avvio dalle conferenze autofinzionali di Sergio Blanco, in particolare dalla sua elaborazione della violenza come costruzione narrativa, e si sviluppa attraverso la rielaborazione di un’esperienza personale di violenza subita. In questo contesto, l’autofinzione diventa uno strumento metodologico capace di mettere in relazione l’esperienza vissuta, il discorso teorico e la rappresentazione. L’auto-conferenza viene quindi intesa come una vera e propria metodologia di ricerca artistica: uno spazio in cui l’esperienza personale si intreccia con riferimenti teorici e visivi, generando una riflessione critica sulla rappresentazione della violenza e sulle possibilità del racconto di sé come pratica di conoscenza. L’elemento autobiografico, sempre in bilico tra attendibilità e finzione, diventa così il punto di partenza per una riflessione che supera l’io dell’autore e si apre a una dimensione collettiva, coinvolgendo lettori e spettatori.