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.

Throughout our musical history, many female composers’ figures and legacies have always remained overshadowed in the male-dominated realm of 19th- and 20th-century music. Eugenia S. Osterberger (1852–1932) is one of them: a remarkable and overlooked Galician composer who blended Galician and Spanish traditional music with European academic styles. This research aims to shed light on Osterberger's life and work by performing her compositions with my instrument addressing the central question: “How can I share it engagingly with the audience?”. To carry out this project, the methodology involves a literature review of Eugenia’s context, story, and compositions; archive fieldwork to find the scores; the process of arranging and adapting her music for oboe or English horn; identification of Galician and Spanish folklore footprints and other styles in her pieces; and revision of tools for engaging audience. The culmination of this research will be to have all the essential tools to be able to create a performance that combines narration and music to bring Osterberger's legacy to life, making the audience enjoy and connect with my emotional engagement and with the composer. In addition, it is intended to make a new contribution to the repertoire for oboe and English horn and raise awareness of under-represented voices in music history, which may inspire others to rediscover forgotten composers.

Editorial of the inaugural edition of ARJAZZ Journal for Artistic Research in Jazz (May, 2025)

This exposition contains the complete artistic output and accompanying reflective documentation of the artistic research doctoral project I conducted at the University of Music and Performing Arts Vienna between 2021 and 2024. Free improvisation in music offers a unique field for exploring how artistic practices develop through embodied engagement, critical reflection, and collaborative experimentation. This research focuses particularly on the process of practicing within this context, tracing the evolution of specific exercises and preparatory methods. These were initially tested in collaborative projects with other musicians and later refined through a series of workshops. A central theme that emerged throughout this process is the role of reflection—both musical and verbal—as a vital component of artistic development. This realization culminated in the project Performing Reflection, which established a dialogical relationship between musical improvisation and reflective discourse. The work contributes to a deeper understanding of how structured exercises and reflective practices can support and expand the art of free improvisation, offering new perspectives on its preparation, pedagogy, and performance.