Research Catalogue

This thesis investigates how narrative agency can emerge collaboratively between human, technological, and more-than-human agents within artistic re- search. In response to the limitations of anthropocentric storytelling, it poses the central question: How does narrative agency emerge in co-creative processes involving human, technological, and more-than-human forces? The research adopts an experimental, site-specific methodology grounded in transduction-the translation of one form of data or energy into another-to enga- ge with the expressive capacities of more-than-human entities. Three iterations form the core of the investigation: a photogrammetric and sonic exploration of De Nieuwe Passage (The Hague), a real-time collaboration with storm Conall in a city forest, and a durational transduction of Tokyo's soundscape into photo- graphic form. In each case, technologies such as cameras, code, and sensors are treated not as neutral tools, but as hybrid agents participating in narrative formation. The results demonstrate that narrative meaning can emerge through intra-active, multisensory processes rather than through fixed representation. Each experi- ment reveals how environmental and technological agents shape the unfolding of story, whether through the rhythm of human flows, the shifting forces of weather, or the temporal layers of urban sound. This thesis concludes that artistic research can facilitate non-anthropocentric storytelling by creating conditions for narrative to arise through entangled rela- tions. It recommends a methodological shift toward collaborative, sensory-ba- sed practices that decenter the human artist and embrace the co-authorship of technological and environmental systems.

PERFORMING PROCESS is a research group within the Artistic Research Centre at Nottingham Trent University, co-led by Emma Cocker and Danica Maier, both Associate Professors in Fine Art. We ask: what is at stake in focusing on the process of practice — the embodied, experiential, relational and material dimensions of artistic making, thinking and knowing. What is the critical role of uncertainty, disorientation, not knowing and open-ended activity within artistic research? How might a process-focused exploration intervene in and offer new perspectives on artistic practice and research, perhaps even on the uncertain conditions of contemporary life? PERFORMING PROCESS has origins in a number of critical precedents: Summer and Winter Lodges originating within the fine art area (practice-research residencies or laboratories dedicated to providing space-time for making-thinking and for exploring the process of practice), collaborative artistic research projects such as No Telos, for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity; the DREAM seminar series with PhD researchers which focuses specifically on the ‘how-ness’ of practice research by asking - How do we do what we do?

Understanding the complexities of current European society is impossible, especially for the younger generations, without knowing and understanding the complex historical developments and narratives. In most EU member states teaching history in the system of formal education is predominantly focused on national, if not patriotic history narratives. The consequence of this approach is that young people have a lack of knowledge about a wider, transnational and shared European history.

Just as variety and change are the core principles of nature itself, they seem to be essential for music, too. This research examines doubles in the repertoire for flute between 1700–1750 as a specific type of variation. Originating as a vocal tradition of embellishing the second verses of airs de cour, the tradition continued in instrumental music by creating doubles mostly for songs and dance forms, such as Menuet, Gavotte or Sarabande and remained popular until it gradually evolved into the variation form in the second half of the 18th century. The role of the flute in this repertoire is unique thanks to the vogue of the airs the cour among flautists and composers for flute. The presented exposition traces the development of doubles in the flute repertoire of the first half of the 18th century. Highlighting the variety of unique compositional styles, the research distinguishes between three typological categories of doubles: diminutive, ornamental, and those presented in sets of variations, typical of a Galant sonata. The examination and analysis of a representative number of doubles led me to extract elements and patterns, typical for each category, and, in turn, this thorough study of the doubles allowed me to play them with a better understanding. Finally, the synthesis of both the theoretical and empirical approaches provided enough information and inspiration to compose doubles for other musical pieces from the same period. These newly composed doubles are included in the collection titled L’Art de doubler, attached to the exposition.

This research explores the synergy between auditory and visual sensory impressions, investigating how music and visual arts can merge, interact, and resonate reciprocally to create a unique cross-modal performance. Central to this research is the collaboration with the visual artist Damiano Colombi. The focus is placed on two distinct types of interaction: large canvases enriching the visual space on stage, around which the musician moves, and digital projections created with TouchDesigner, a software that generates real-time visuals reacting to the music. These contrasting approaches shape an immersive experience, transforming sound into moving images and creating a dynamic interplay between structured visual elements and fluid digital projections. A central challenge of this research is to create a balanced interaction between the auditory and visual components, so that each artistic discipline complements and enhances the other, allowing a continuous dialogue between sound and image. Throughout the creative process, these ideas evolved organically, guided by continuous experimentation and reflection. By documenting the sensations, insights, and evolving artistic choices, this research not only explores the theoretical and technical intersections between music and visual arts but also highlights the deeply personal and intuitive nature of interdisciplinary collaboration. Ultimately, this research provides a framework for crafting audiovisual performances that foster a compelling and harmonious fusion of music and visual arts.

This research examines Giovanni Battista Bovicelli’s Regole, passaggi di musica (Venice, 1594), a Renaissance treatise on (vocal) ornamentation. By analyzing Bovicelli’s diminutions, this research aims to identify his characteristic stylistic elements as a composer and singer. Beyond defining these elements, the findings provide a solid foundation for comparing his style with that of Giovanni Bassano, previously studied, and for applying Bovicelli’s techniques in newly written diminutions. More broadly, this study contributes to a deeper understanding of late 16th-century Italian diminution practice. Bovicelli’s treatise offers information for singers about text placement, presents examples of diminutions for various intervals, cadences, and melodic contexts, and includes his own diminuted lines of well-known pieces of the time. This research focuses specifically on the examples of diminutions, analyzing them according to seven musical criteria: note values, range, intervals, melodic sequences, rhythmic patterns and/or sequences, standard figures such as trills and turns, and ficta application. Additionally, in cadences and melodic contexts, the extent to which the original melody is preserved is assessed. The results of this analysis are presented in tables and graphs for a clear overview. Additionally, the research includes a comparative analysis of Bovicelli’s and Bassano’s diminution styles, clarifying both their individual characteristics and, very carefully, broader trends in 16th-century Italian diminution practice. Furthermore, newly composed diminutions in Bovicelli’s style demonstrate the practical application of the findings. These diminutions are written on the well-known Anchor che col partire by Cipriano de Rore (1516-1565).