Research Catalogue

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

A visual, emotional & conceptual archive of performative installations that anticipated the LGP Method's integrative logic. This article presents a series of digital collages created through the daily reworking of personal archives—photos, performance records, and installations. These images are not final works but affective documents in motion. They explore the blurred boundaries between memory, artwork, and archive. This visual practice is part of the ongoing evolution of the LGP Method, showing how transformation and process are central to its structure. After the method's formalization, a new identity—New Art—emerged, emphasizing mobility, reinvention, and the spiritual-emotional dimension of creative work. This archive also acknowledges the valuable collaborations with artists, performers, and institutions who engaged with different stages of the process, activating the method from multiple perspectives.

This thesis explores the layered and often ambiguous relationship between place, memory, and history in the southwest region of Poland, with particular attention to the city of Wrocław. Combining site-specific observation with theoretical reflection, it examines how everyday encounters with neglected, transitional, or repurposed spaces contribute to a sense of familiarity and belonging in a region shaped by post-war displacement, political upheaval, and economic transformation. Through examples such as a stadium which kept on changing its role, remnants of wartime infrastructure, and viral online videos captured in forgotten environments, the research investigates how traces of the past persist outside institutional archives and dominant historical narratives. Drawing on thinkers including Yi-Fu Tuan, Paul Connerton, and Henri Lefebvre, the thesis emphasizes the importance of lived experience, spatial practice, and the subtle cues embedded in the landscape. Rather than presenting a fixed interpretation of history, the work advocates for a more nuanced, open-ended approach—one that recognizes the complexity of the past as it is revealed through the overlooked, the accidental, and the intimately familiar.

This research explores how choreomania - the historical phenomenon of uncontrollable, communal dance “plagues” that emerged in the Middle Ages - can inform and shape my artistic practice. Central to this inquiry is the question: how does choreomania influence my creative process and the way I shape my performance practice as a classically trained pianist? The study unfolds three main blocks. First, an essay examines the conceptual formation of choreomania, its contemporary relevance, and its impact on my artistic work. Simultaneously, I observe and document the creative processes of artists-in-residence during my internship at the residency programme "Choreomania - Bodily Excess, Collective Unrest". The thrid block involves an experimental playground consisting of several performance try-outs, each rigorously documented, analysed, and reflected upon. Adopting a rhizomatic approach, I explore performance-making as a fluid, irregular process. The resulting performances weave together classical piano, improvisation, movement, voice, collaboration, live-electronics, audience engagement, and the submerged elements of choreomania. The research culminates in a synthesis and reflection of the entire process, offering new insights into performance-making.

At the turn of the nineteenth century, cellists were trained to provide chordal continuo realisation for recitativi in various parts of Europe. In other words, when they accompanied an upper voice, players would create a harmonically rich texture to better support the line above them, filling in chords rather than playing single bass notes. My research aims to trace the origins of this practice, examining pedagogical materials from the Neapolitan conservatories at the end of the 1600s. First, we investigate sections of the Montecassino Manuscript MS 2-D-13 (1699), analysing cases when Neapolitan-trained cellists needed to conjure up music beyond the written bass line. Selected works by prominent cello virtuosi and pedagogues of the time (Rocco Greco, Gaetano Francone, and Francesco Supriani) help us grasp how the violoncello gained the possibility of playing sophisticated improvised lines upon a bass and even (dare we say) partimenti. The second part of my research takes us forward in time to the second half of the eighteenth century. We discover how Salvatore Lanzetti and Antonio Guida continued the pedagogical traditions established by the preceding generations of Maestri, crafting methods that trained cellists to employ the rule of the octave in order to get comfortable with chordal improvisation. Ultimately, these explorations aim to suggest how the ground may have been fertilized for the growth of the aforementioned recitativo practices in the late 1700s, treating chordal continuo realisation as a result of a dynamic process across generations rather than an isolated phenomenon.

This exposition is part of the peer-reviewed article: Østern, T. P., Reppen, C., O’Connell, S., & Daneberg, M. (2025). Choreographer/researcher/teacher: Developing a/r/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2). https://doi.org/10.7577/ar.5460 This exposition explores my a/r/tographic design dive as course coordinator of the course "A/r/tography in theory and practice in higher education" (7.5 ects) at Stockholm University of the Arts. The decision to create and offer this course arose from a large collaborative change project at the former Department for Dance Pedagogy. The project led to a revision of the BA in Dance Pedagogy into an a/r/tographic study program, emphasizing the entangled roles of choreographer, researcher, and teacher. The course was developed to support professional development in a/r/tography for staff teaching across arts disciplines in higher education. As course coordinator, I dove into the course design a/r/tographically.