Research Catalogue

The context of generative processes encapsulates relevant data that influence the behavior of an algorithm including mental domains and 'internal' dimensions of a particular context such as goals and decision making. Of creative importance is how an algorithmic process reacts to the influence of its environment, the enclosing conditions from which it emerges. Given a clearly defined set of resources, a variety of processes can operate within the boundaries imposed by a certain context. Such a shared space can be seen as a composable structure, a space where both composition and generative activity take place. Contributing to the evolving properties of a certain situation, the persistence of state means that an environment behaves according to the previous activity that has occurred within it. Opposed to an amnesic situation, a persistent environment can resume previous developments, adapt to long-term interactions and evolve over time. Based on persistence and gradual change, the temporal unfolding of generative processes has an important impact on the becoming of compositional algorithms and the sound material they create.

Beröringspunkterna mellan språk och musik har intresserat många genom historien och i denna exposition står sambanden mellan muntligt berättande på dialekt och musikalisk interpretation samt komposition stå i fokus. Ann Elkjär är flöjtist och doktorand i musikalisk gestaltning, och i doktorandprojektet utforskas en nyfikenhet på muntligt berättande: Vilka musikaliska element går att hitta i muntligt, dialektalt, berättande och hur kan de omformas till kompositoriska och interpretatoriska redskap? Frågorna utforskas i ett samarbete med tonsättaren Ida Lundén, och expositionen bygger på en analys av videodokumentation av den kollaborativa kompositionsprocessen. Arkivinspelningar av värmländskt berättande utgör ett centralt material, där fragment av äldre berättares röster processas och spelas upp med rullbandspelare i dialog med soloflöjtstämman. Genom rullbandspelarna ges möjligheter att skapa loopar som även återspeglas i flöjtstämman, och på detta vis utforskar verket hur element i muntligt berättande kan omformas till musikaliskt material. English: The intersections between language and music have long intrigued scholars, and this exposition centers on the relationship between oral storytelling in dialect and musical interpretation. Ann Elkjär, flautist and PhD student in musical performance, explores the reflective spaces that emerge in the interstice between language and music. The research questions guiding the PhD project are: What musical elements can be identified in oral storytelling in dialect, and how can these be transformed into compositional and interpretative tools? To investigate these questions, Ann Elkjär collaborates with several composers. This exposition presents the collaborative compositional process between Elkjär and composer Ida Lundén. Archival recordings of storytelling in the Värmland dialect serve as a central material, where fragments of an elderly narrator’s voice are processed and played back via reel-to-reel tape recorders in dialogue with the solo flute part. The use of tape recorders enables the creation of loops, which are mirrored in the flute part, thereby exploring how elements of oral storytelling can be transformed into musical material.

Exploring methods of connecting thinking to space and embodiment in a research that looks at the connection between mental images, language and the body through felt experience.

Post-Interpretive Method: How to Practice Restraint in Front of a Work of Art By Dorian Vale This essay introduces a foundational method within Post-Interpretive Criticism (PIC): the practice of restraint in the presence of art. Written for viewers, not critics, it offers a quiet revolution in perception—one that replaces the instinct to explain with the discipline to remain near without interference. Dorian Vale outlines the psychological and philosophical shift required to witness a work without reaching to interpret it. Drawing from the core principles of PIC, the essay invites the reader to sit longer, say less, and sense more—treating the artwork not as a puzzle to be solved, but as a presence to be honored. Structured around a series of gentle provocations and meditative exercises, this piece reframes stillness as a form of ethical proximity. It challenges the reader to suspend their search for meaning and instead, practice reverence. This is not a manual for analysis. It is a call to integrity. In a culture that rewards reaction, Vale teaches the viewer how to return to presence. Vale, Dorian. Post-Interpretive Method: How to Practice Restraint in Front of a Work of Art. Museum of One, 2025. DOI: 10.5281/zenodo.17076884 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, Dorian Vale, art viewing guide, how to look at art, presence in art, restraint in art, ethical art engagement, witnessing not interpreting, contemporary art theory, stillness in museums, trauma-informed art viewing

Embodied Reading: How Presence and Posture Change the Way We Read Art By Dorian Vale In this exploratory essay, Dorian Vale invites the reader to reconsider how art is not merely seen, but read—bodily, spatially, and ethically. Embodied Reading proposes that how we physically approach a work—our posture, breath, stillness, even the tempo of our gaze—alters not only what we perceive, but what we are permitted to receive. Through the lens of Post-Interpretive Criticism, Vale dismantles the myth of detached observation. He argues that presence is not a neutral position; it is a moral stance. The critic or viewer becomes a vessel whose alignment, reverence, and restraint determine whether the work is met with violence or with care. This essay is both philosophical and practical—a call to critics, curators, and audiences alike to reimagine the gallery not as a site of performance, but as a space of quiet consequence. To read art with the body is to return critique to its most sacred function: to witness without desecration. Vale, Dorian. Embodied Reading: How Presence and Posture Change the Way We Read Art. Museum of One, 2025. DOI: 10.5281/zenodo.17070948 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, Dorian Vale, embodied art criticism, art and presence, somatic aesthetics, art posture, ethical witnessing, museum stillness, embodied viewing, art and tempo, sacred criticism, viewer as vessel, phenomenology of art, art reception theory, trauma-informed art criticism, reverent art engagement

Witnessing vs. Interpreting – A Post-Interpretive Comparative Exercise By Dorian Vale In this comparative essay, Dorian Vale contrasts two approaches to viewing and writing about art: traditional interpretation and Post-Interpretive witnessing. Using a single artwork as case study, the essay demonstrates how meaning shifts—not within the work, but within the viewer—depending on the posture they bring. Interpretation is presented as a mode of extraction: the attempt to decode, categorize, or assign value based on historical precedent or theoretical frameworks. In contrast, witnessing emerges as a discipline of restraint—one that prioritizes moral proximity, reverent attention, and the refusal to explain what resists language. By moving between both lenses, Vale makes visible the subtle violences of over-interpretation and the ethical alternative proposed by Post-Interpretive Criticism (PIC). The result is not a verdict, but a deepened awareness of the responsibility of presence. This essay functions as both a philosophical comparison and a demonstration of PIC in action, offering a rare glimpse into how criticism can shift from possession to presence. Vale, Dorian. Witnessing vs. Interpreting – A Post-Interpretive Comparative Exercise. Museum of One, 2025. DOI: 10.5281/zenodo.17077542 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, Dorian Vale, ethical art criticism, witnessing vs interpretation, presence in art, restraint in art writing, trauma-informed criticism, aesthetic ethics, non-extractive criticism, moral proximity, contemporary art theory