Research Catalogue

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.

This artistic research explores the creative transformation of the electromagnetic spectrum into visual language, particularly gamma rays. Continuing the previous part of my research developed during my Master's thesis at RUFA, Rome, Italy (2023), the present-day work expands the focus from gamma radiation to a broader engagement with the electromagnetic spectrum. When I started working on these pieces, I did not want to limit the work to a purely scientific explanation of the phenomenon. That approach felt too limited for what I was trying to express. I used colors, rhythm, and space for form in each work. Gamma rays serve as a starting point for considering transformation and inner strength. Works such as "New gamma-ray burst with a white hole," "Visible," and "Mariotti" merge scientific ideas with symbolic narratives. I have based this work on scientific sources and my experience. I also followed my intuition while examining the relationship between radiation physics and neuroaesthetics. Ultimately, this evolving work demonstrates how artwork can reframe scientific principles. It presents an aesthetic strategy for perceiving the imperceptible. Aim This artistic research explores how the full range of the electromagnetic spectrum, which includes both seen and invisible frequencies such as gamma rays, microwaves, and radio waves, can be translated into visual form through modern-day blended media practices. Rather than illustrating scientific concepts in a didactic manner, the project seeks to evoke electromagnetic energy's perceptual, emotional, and symbolic dimensions. The study aspires to provide a new creative framework for engaging with unseen forces that structure each herbal phenomenon and internal human state by integrating material experimentation, digital techniques, and theoretical insights from neuroaesthetics, physics, and human psychology.

"Wat heeft mijn leven nog voor zin?" In dit onderzoek neem ik je mee in mijn zoektocht naar hoe theater als kunstvorm én leermiddel studenten kan helpen om deze ontmoetingen met moed en empathie aan te gaan. Ik heb verhalen verzameld. Van studenten die zoeken, patiënten die worstelen, en van professionals die laveren tussen nabijheid en afstand. Die verhalen heb ik verweven tot een theatervoorstelling. Een levend leerlandschap waar zorg en kunst elkaar raken.

Petromusicality. On the Sonic Culture of (Plastic) Material and Beyond explores the fossil fuel-based history of music media, focusing on vinyl records and their environmental impact. This Audio Paper examines historical production processes, material consumption, and the resurgence of vinyl culture. Through artistic research projects and expert perspectives, it discusses the political and ethical dimensions of sound reproduction. By highlighting sustainable alternatives and exploring the connections between extraction, mass production, and materiality, the study encourages a deeper engagement with the physical aspects of sound and their global implications.

This essay postulates a novel notion of the sound image that – rather than conceiving it as an artefact, a visual surrogate or an exclusively mental entity – defines it as an instance of a process or an operation, unfolding within material circuits, technical infrastructures, and collective protocols. Based upon the image theory developed by Gilbert Simondon in his book Imagination and Invention, this notion enables an account of the variable nature of the audible in a post-anthropocentric context as intrinsic to the forms in which sensorial engagement takes places in singular material constellations.

This video essay discusses how contemporary artists might directly address some of the philosophical and political challenges of a material approach to instrumentality through creative practice. I present and discuss the practical approaches taken by musicians who create and collaborate with instruments as a central part of their work: Khabat Abas and Sam Underwood. In examining their creative practice both creating and working with musical instruments, I examine how these artists navigate the agential and material aspects of the instruments and systems they create, in parallel with the conceptual ideas that they bring to and derive from such systems.