Research Catalogue

Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

The Art of Preluding was once common practice but more or less disappeared during the last century. In recent years, there has been renewed interest in reviving this artform. The content found on the website is the result of years of research in the artistic and pedagogical field, and an academic research project at the Royal Conservatoire Antwerp in Belgium. It relies on historical didactic instructions to make preluding at the piano accessible and up-to-date again, and promotes the development of a contemporary approach.

This exposition proposes “artistic ecosystems” as a speculative framework for understanding creative processes shaped by interspecies collaboration and posthuman thought. The entry explores how art involving non-human agencies challenges anthropocentric norms and redefines authorship, participation, and temporality. Through a personal selection of immersive, site-specific, and ecological works by artists such as Westendorp, Eliasson, Huyghe, and Denes, the author outlines the beginnings of a doctoral research trajectory. These projects exemplify sympoietic, open-ended modes of creation, positioning performance and art-making as a fragile, relational ecosystem of human and more-than-human entanglements.

The histories, stories, and names of Chinese railroad workers who dedicated their lives to constructing the U.S. Transcontinental Railroad have remained in the shadows for over a century. Completed in 1869, the railroad was a monumental achievement in America’s ‘Manifest Destiny’ during the nineteenth century. But despite their contributions, the Chinese laborers have not received the recognition they deserve. This project seeks to remember Chinese railroad workers via arts-based research methods (ABR). Archives are not merely repositories of the past but also products of political power. In this light, the project poses a key methodological question: How can art-making critically reconfigure the power of archives and lost history? We seek to ask questions, initiate a dialogue, acknowledge the absence, and give form to the invisible. Building upon the historical recovery work of previous scholars, we reconstruct fragmented pieces through remixed artworks. The current article highlights key artworks that demonstrate the scope and variety of a much larger project (Yu 2025b). We dedicate this work to the Chinese master railroad builders––to the great-grandfathers––whose stories and names demand remembrance.

The concept of spatial context is often presented and visualized commonly through its relation to the built environment. Its significance predominantly plays a fundamental role in understanding the world and forming relations between various diverse experiences, and interpretations of reality. These influences, in which knowledge is produced and transformed by inhabiting the process of being seen, felt, and perceived, overlap where the notion of time unfolds intricate reflections of itself regarding happenings, entities, and physical elements. By exploring the spatial context in a non-linear timeline, it is possible to identify unique hidden dimensions that enrich the understanding of the totality that is related to spaces and their surroundings. This nonlinearity is achievable through the phenomenological understanding of lived spaces which brings mental, physical, and sensory, at the same time largely subjective realities to conceivable participation. With these guidelines, this research consists of an artistic exploration that aims to visually investigate artistic methods and processes of revealing extended visual qualities of mental space, and what type of connections are intertwined within its architectonic surroundings. My aim is to phenomenologically uncover hidden dimensions inherited within mental space. Therefore I destabilize conventional meanings of space by visually exploring and rendering the mental and emotional geographies that shape our lived experience, internalizing and revealing the constructedness of mental spatiality through an artistic process that reflects psychogeographic embodying. By challenging linear and objective representations of space by engaging in an artistic exploration of mental and emotional landscapes, I unfold non-linear timelines, subjective lived experiences, and the overlaps of perception and time, where memory and the present co-narrate within us.

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