The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

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PD Arts + Creative at PD Day 2025 (2025) PD Arts + Creative
The first edition of the Professional Doctorate (PD) Day took place on Tuesday 18 November at the Social Impact Factory in Utrecht. This event brought together PD candidates and their networks from all seven domains of the Professional Doctorate pilot to exchange ideas, explore crossovers, and strengthen interdisciplinary collaboration. The theme of this first PD Day, '๐˜™๐˜ฆ๐˜ช๐˜ฎ๐˜ข๐˜จ๐˜ช๐˜ฏ๐˜ช๐˜ฏ๐˜จ ๐˜œ๐˜ณ๐˜ฃ๐˜ข๐˜ฏ ๐˜๐˜ถ๐˜ต๐˜ถ๐˜ณ๐˜ฆ๐˜ด - ๐˜๐˜ฏ๐˜ต๐˜ฆ๐˜ณ๐˜ท๐˜ฆ๐˜ฏ๐˜ช๐˜ฏ๐˜จ ๐˜ต๐˜ฉ๐˜ณ๐˜ฐ๐˜ถ๐˜จ๐˜ฉ ๐˜—๐˜ณ๐˜ข๐˜ค๐˜ต๐˜ช๐˜ค๐˜ฆ-๐˜ฃ๐˜ข๐˜ด๐˜ฆ๐˜ฅ ๐˜™๐˜ฆ๐˜ด๐˜ฆ๐˜ข๐˜ณ๐˜ค๐˜ฉ ๐˜ง๐˜ฐ๐˜ณ ๐˜“๐˜ช๐˜ท๐˜ฆ๐˜ข๐˜ฃ๐˜ญ๐˜ฆ ๐˜Š๐˜ช๐˜ต๐˜ช๐˜ฆ๐˜ด,' focused on the future of urban life. This theme is grounded in the United Nations ๐˜š๐˜ถ๐˜ด๐˜ต๐˜ข๐˜ช๐˜ฏ๐˜ข๐˜ฃ๐˜ญ๐˜ฆ ๐˜‹๐˜ฆ๐˜ท๐˜ฆ๐˜ญ๐˜ฐ๐˜ฑ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต ๐˜Ž๐˜ฐ๐˜ข๐˜ญ 11: ๐˜š๐˜ถ๐˜ด๐˜ต๐˜ข๐˜ช๐˜ฏ๐˜ข๐˜ฃ๐˜ญ๐˜ฆ ๐˜Š๐˜ช๐˜ต๐˜ช๐˜ฆ๐˜ด ๐˜ข๐˜ฏ๐˜ฅ ๐˜Š๐˜ฐ๐˜ฎ๐˜ฎ๐˜ถ๐˜ฏ๐˜ช๐˜ต๐˜ช๐˜ฆ๐˜ด and during the PD day, the theme is structured around five subthemes. Within these subthemes, we reflected on how we can shape cities that are inclusive, safe, resilient, and ecologically sustainable.
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PERFORMATIVE THEOLOGY (2025) Network for Performative Theology
The purpose of this exposition is to collect data of what Performative Theology can be and become primarily within an academic research but also beyond. The expo will be a timespace nurtured by members the Network for Performative Theology, established 6 October 2022 in Oslo.
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MY PUBLIC STAGE (2025) Ioannis Karounis
"My Public Stage" is not merely an artistic practice; it is a dynamic fusion of performance art and civic engagement that transcends conventional boundaries. At its core, this practice navigates the intricate relationship between the artist and the public sphere, offering an unconventional perspective on how art can reshape our understanding of the world. The essential aspect of this artistic journey lies in the intentional placement of artistic interventions and performances within public spaces, where the encounter with viewers is not a predetermined spectacle but a meeting. This deliberate approach seeks to dissolve the traditional separation between the artist and the individual, fostering a unique connection that is spontaneous and genuine. I view public space as not only a material but also a social environment that is produced, reshaped and restructured by the citizens through their experiences, their intentions for action and the relations they develop in it. My project draws on Lefebvreโ€™s (2019) approach to urban public space not as a neutral container of social life, but as a fluid entity, both constructed and produced by social practices. Lefebvreโ€™s approach confirms and expands my view that public space is not fixed, yet it requires a conscious effort to intervene in its production. The philosophy driving "My Public Stage" aligns with the concept of civic engagement. By presenting long durational performances in the heart of everyday life, the artist consciously assumes the role of a creator, using performance art as a medium to unveil the interconnected elements that bridge art with life. This philosophy echoes the sentiment of Joseph Beuys, who believed that everyone is an artist, actively sculpting the intricate sculpture we call life. In embracing the public sphere as its canvas, this practice transcends the conventional boundaries of art and daily reality. It becomes a catalyst for a different perspective on how individuals perceive and engage with their surroundings. The transformative power of performance art is harnessed to reveal the latent artistic potential within each person, emphasizing the symbiotic relationship between art and life.
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Bus Stop (2025) Julija Jonas
This exposition reflects on the phenomenon of the public transport stop as a metaphorical framework for the condition of migration and the figure of the waiting individual. By centering the act of waiting, this research examines how mutual understanding and cultural translation unfold within intercultural encounters. The bus stop serves as both a physical site and a symbolic threshold, a space of transition, suspension, and projection toward an uncertain future. Within this context, the project traces the transformative phases of subjectivity experienced during emigration, emphasizing the temporal dimension of waiting, expectation, and the tension inherent in moments of immobility. The final installation is situated directly within the public sphere, specifically at bus stops, where the object destabilizes the everyday rhythm of transit. By oscillating between staged intervention and authentic environment, the project foregrounds the paradoxical beauty of stillness, alongside the latent unease of anticipation.
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Soittaa omaa mahtia - An Experimental Approach to the โ€˜Inner Powerโ€™ Improvisation in 19thโ€‘Century Karelian Kantele Tradition (2025) Arja Anneli Kastinen
This exposition introduces an experimental framework for acquiring the โ€œinner powerโ€ improvisation associated with 19thโ€‘century non-literate Karelian kantele players. While their precise thought processes remain unknowable, it is clear they did not focus on finger control. The method emphasizes internalizing traditional plucking patterns without sheet music, allowing subconscious decisionโ€‘making to guide improvisation. Stepwise learning of increasingly complex patterns enables musicians to combine and vary them freely, creating a continuous flow of tones in which the player becomes part of the sound field. Contemporary practice thus reconnects with what kantele players once described as โ€œplaying their inner powerโ€ (โ€œsoitan omaa mahtiaโ€), a style later termed โ€œQuiet Exaltationโ€ by folk music researcher Armas Otto Vรคisรคnen.
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Editorial: The possibility of having time to have a world (2025) PรR-A-GEM
We are pleased to announce the release of HUB - Journal of Research in Art, Design and Society, Issue #5 Duration? Dur(action)!. Guided by the collective of guest editors PรR-A-GEM, this edition offers in-depth explorations of the intersections between media, temporality, and embodied artistic research.
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