Research Catalogue

This is the Aurora exposition.

At this time of exception, in these extra-ordinary times there seems to be no limit to the limit: Once an extreme, excessive and acute experience, the limit has become an all-inclusive, continuous condition that coincides with a lack of language and other forms of expression and connection. Aiming to collaboratively inhabit and investigate this border experience, the objective of this project is to create contemporary vocabularies and related contextualizations of/for/at the limit. In order to do so, the project’s design for 36 months will develop 3 arts-based research programs exploring 3 select limit-experiences: The Unknown, The Beyond, The Abyss. Each of the interrelated programs includes a score of 5 formats: banquet, symposium, exhibition, podcast and performance collaborations with Saint Genet, Tianzhuo Chen and Marina Abramović.

This page is under construction It contains material created for and in the context of the research project Gifts from the Sentient Forest at the University of Lapland. See https://www.sentientforestproject.com

Cultivating a sense of ownership in beginner music students is important for fostering engagement and self-confidence in their educational journey. This study explores how integrating creative activities into a beginner clarinet curriculum promotes ownership among students aged 9–11. Focusing on three specific activities tested in multiple case studies, the research investigates students' relation with their musical development. Findings reveal that using creative activities as part of a personalized, student-centered teaching approach enhances students' motivation and engagement, ultimately fostering a stronger sense of ownership in their learning experiences. The study also offers practical insights for music educators seeking to creatively teach instrumental skills while creating a meaningful musical experience for young clarinetists.

Table of contents JSS issues

The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape was a human-pulled carriage journey that re-envisioned the eighteenth-century traverse of the picturesque landscape, the subject-objectification of the view, and the imperialistic impulse behind the voyage pittoresque. This artistic experiment visually, kinaesthetically, and performatively explored the transformation from landscape to image that formed the basis of modern perception, as part of the colonial legacy inherent within the picturesque view. The Grand Tour carriage was pulled by human labour, evidencing the forced labour economy that impelled the European Enlightenment, while demonstrating in human terms, the use, abuse, and commodification of human and non-human animals. The Grand Tour proceeded from Binche to Brussels to Antwerp, Belgium in 2022. The Grand Tour experiment investigated the eighteenth-century picturesque gaze, which travelled unchecked over the landscape in industrialised Europe, a harbinger of the annexation and enclosure of land that had been commonly owned, traditionally used, or publicly accessible, while portending the colonisation of lands abroad. The picturesque gaze, an imperialist mechanism, still fragments the landscape, excising two-dimensional pictures from the three-dimensional world around us, a vestige and augur of the destruction of lands, cultures, and peoples. Shifting between early modern and contemporary perception, The Grand Tour bisected space and time in a cleaving manoeuvre, creating new fault lines in which multiple planes of space-time might co-exist. This experiment tested whether a new neo-picturesque framework could be forged in a dimension of space-time that alters according to the perception and orientation of the traverser, casting contingent new imaginaries into physical and psychic realms where they may or may not become realities, according to Arno Böhler’s philosophy as artistic research approach (2019). This experiment envisaged a plurality that did not exist in the eighteenth century but may have already been limned in its myriad contradicting, contrasting, and diverging modes of sensing and experiencing the world around us in a relational and now relative notion of space-time. Download Accessible PDF