The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

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The (origins of the) game (2024) Zoe Panagiota (aka Betty) Nigianni
Happening, 2016. Participant's research, including improvised full recorded interview with first generation Albanian immigrants to Greece, images, and thematic text. The research was conducted for the workshop, "Logics of Worlds", inspired by Alain Badiou's work and organised by architect Filippos Oraiopoulos, at Athens School of Fine Art (ASFA), Master of Visual Arts (Marios Spiliopoulos, Giorgios Xiropaides), December 2016. Adopting the political approach of Badiou's "L' Organisation Politique" to apply direct intervention for societal problems, including immigration and labour, I used play as a method to facilitate improvised discussions. People share and respond more freely when participating in structured, but playful interactions, such as those a game involves. Albanians speak three languages, Albanian, Italian and, a few of them, Greek, so I wasn't able to translate parts of the conversation. Avlona is an English now obsolete name for Vlore, an Albanian seaport and former ancient Greek colony Aulon. Albanians came as refugees in Greece initially in the 1990s, after the fall of communism in their home country. Religion was banned in communist countries. Notably, the men I spoke to didn't want to be visualised. Hence, the exposition aims to juxtapose the experimental and the conceptual in the fine arts; and to make the 'invisible' visible. Badiou is also known for his philosophy of metaphysics of the four "truth procedures": Politics, Science, Love and Art. The workshop was slightly interrupted by a performance art student, who brought a live hen to slaughter in the studio. This can be taken as a metaphor for scapegoating (by symbolically re-assigning the gender of male) Albanian non-EU refugees. For this exposition, I include an essay by Pantelis Boukalas, in Kyriakos Katzourakis, O "Dromos Pros Ti Dysi" (The Way to the West), 2001, as well as Kyriakos Katzourakis' introduction in English. I don't have any personal or other connections with Albania (or North Macedonia); I had never visited before 2024. This was a project to research and document in an artistic manner the refugee and immigration crisis, as I experienced it in my native Greece and to voice my opinions on this topic from my perspective as a native Greek. I spoke to non-EU economic refugees. Non-EU economic refugees must not be confused with political asylum seekers, who encounter persecution for political reasons from the countries of origin or citizenship. Albania (North Macedonia and Kosovo) is a non-EU country; Greece, my native (and my parents' and grandparents' native), has been in the EU since 1981. I have also been a UK national, by naturalisation, since 2011. Paradoxically, the outcome of this project was that fictitious non-EU son/daughter of mine have been (since 2018) on UK police databases, as disabled 21 year-old Albanian male; and 22 Italian/Albanian female. I must have been given birth to children in Albania in 2003! 2004! (!! one "prostitute", one "thug"; that's believable!! Golden Dawn's and the BNP's cultural "imagination" with regards to Albanians): the period I was living in Greece and was married to my former husband, a Greek national, working as an architect. Greek children take their father's surname and the Greeks don't have many children; they're suffering from a shrinking population, although they are in the EU since 1981. My concerns about serious international organised criminal activity (not even honouring children's basic rights) were reported and confirmed by the Greek, Scandinavian and Albanian authorities. The British authorities are lagging behind with their impossible unverified "stories", bashing the left - or whatever is left of it. The Greek Golden Dawn - with their "Big Idea" (Megali Idea) of conquering foreign countries, like North Macedonia, and their chronic attacks on immigrants and refugees in Greece - was convicted as a criminal organisation in October 2020. They invented the 'concept' of the 'Real Greek', dependent on any Greek's political orientation. Now they're losing their sixty seven (67) appeals - and early releases. The conversation took place during the period Golden Dawn was prosecuted in the Greek High Courts of Justice (Areios Pagos), 2015-2020. Many non-EU immigrants to Greece provided testimonies in the courts, despite the fact they were frightened. Manolis Glezos was the only Greek politician, who went to visit Magda Fyssa, Pavlos' mother, in the Greek courts. For Pavlos Fyssas, aka Killah P. For Alain Badiou, a communist-Maoist political philosopher, and the OP. For the missing Albanian and of Albanian ethnicity immigrants. For Michalis Katsouris. For the "Other Greek Left". Thanks to the Albanian embassy in London and the Albanian police. Thanks also to Skopje police and Pristine police. Finally, thanks to the Greek police chief and the Greek police organised crime division. The work is in progress.
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Black-Market Truths: Performative Wisdom in Passion, Grief and Madness. (2024) Elisabeth Laasonen Belgrano, Ami Skanberg, Elisabeth Schäfer, ANNA VIOLA HALLBERG
Performance philosophy is still something of a ‘wild frontier’ where fundamental questions can be re-posed concerning the nature of wisdom and love, life and truth. For if love and wisdom are not co-extensive with verbal communication, then philosophy may be legitimately pursued by performative means. In this session the participants aim is to enact and unfold a set of trajectories rather than describe or 'define' their work in words alone. Passion and grief are disruptive currencies. Passion and grief not only seem un-necessary for biological life, they frequently threaten it. Yet a life lived without them would seem impoverished. Whether one views these turbulent affects as parasites, invaders, or as the engines of higher culture, they inhabit philosophy as an ineradicable black-market haunts all states and empires. We aim to consider this under-zone on its own terms, weaving theory with demonstrations of transferable techniques for cross-disciplinary research.
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Evolution (2024) Zoe Panagiota (aka Betty) Nigianni
"New ideas might be conceived and developed more rapidly in disciplines that are more abstract. The inductive methods of experimental innovators in painting makes their enterprise resemble the more empirical disciplines considered by psychologists, while the deductive approach of the conceptual innovators makes theirs resemble the more abstract disciplines." David W. Galenson, "The Life Cycles of Modern Artists", NBER Working Paper Series, 2003. My use of the diagram and the image aims to convey the simple message that art strives for evolution; meaning to strengthen the mind, to research capabilities, to communicate a disinterested, though not necessarily apolitical, view of social changes, to overcome banality and offer an alternative way of looking at the world. The profile picture is myself at nineteen years old.
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How (not) to write a B♭ french horn beginners method book (2024) Isabelle Roelofs
Name: Isabelle Roelofs Main subject: Master Natural Horn Research supervisor: Daniel Salbert Title: How (not) to write a Bb French Horn beginners method book Research question: How (not) to write a Bb French Horn beginners method book Summary of the results: As a horn teacher, I realize that the existing Dutch method books seem not to be written from the perspective of a beginning, young horn player. They show little consideration for the specific physical abilities of children at a young age when learning to play the horn, probably because those methods are mostly not written by a horn player. Therefore, I have researched the do's and don'ts behind writing a method book. If playing the exercises in a method is not physically feasible, it can lead to frustration for the student, which, in my opinion, is detrimental to the learning process. I have always learned that moments of success are crucial for the development and maintenance of motivation. I find these moments of success lacking in existing Dutch-language horn methods. I also believe that they progress too quickly to emphasize reading notation. I notice that my own students often prioritize correctness over musicality. I have critically examined and compared the available Dutch horn method books. Additionally, I interviewed fellow horn teachers to gather their perspectives. Furthermore, I attended a lesson for young horn players at BASIS (Royal Conservatory of the Hague) where auditory learning takes precedence. I am not the first to consider writing my own method. Other horn teachers have embarked on this journey, each with their unique motivations. My research has revealed that I am not the only one who has critical thoughts about the existing horn method books. A significant part of the interviewed teachers also emphasized this same point. Based on the obtained results, I have outlined the initial steps that, in my opinion, are necessary for a starting young horn player, along with the corresponding range of tones. Biography: Isabelle Roelofs, an accomplished horn player and dedicated music teacher, earned degrees in French Horn and Music Education from Codarts University. Graduating with honors from the Royal Conservatory of Antwerp, she is currently pursuing a Master's in Natural Horn at The Hague Conservatory with Teunis van der Zwart. Isabelle is the founder of Belle Musique (2018), where she imparts her musical knowledge through personalized horn lessons, shaping the future of horn players step by step.
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Authenticity in Transcribing (2024) Marie-Lou Debels
This research explores the concept of authenticity in transcription. It is applied to Béla Bartók's Six Dances in Bulgarian Rhythm, movements one, two and five. By prioritising different aspects, the overall look of the transcription is shaped. Examples of these aspects are the sonic possibilities of the chosen or original instrumentation, the general style of the composer and the piece, one's own musical context, the technical abilities of the players... All these aspects could be considered as a form of authenticity. The first chapter elaborates on the concept and discusses methods of transcription. The second chapter analyses the history of the classical guitar, including its transcriptions. The guitar's search for a place in the classical mainstream has encouraged guitarists throughout the centuries to write transcriptions. Throughout history, the concept of authenticity in these transcriptions has changed. The final chapter discusses the entire process of transcribing, from the intentions behind selecting the piece to the obstacles and dilemmas that arose during the process. It shows that the transcribing part is as important as the individual practice and rehearsals. They alternate and influence each other. The Six Dances in Bulgarian Rhythm were of great importance to Bartók. Today they are not as popular as his Six Romanian Folk Dances but given their historical context they deserve to be heard more in today's classical music scene. Finally, it becomes clear that the abstract musical idea of the composer should be kept clear from the beginning to the end of the transcription process.
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Augmented Feedback: A Compositional Approach to Acoustic Feedback in Digital Spaces (2024) Zeynep Oktar
The research entitled "Augmented Feedback", is focused on developing a compositional practice, centered around acoustic feedback processing in digital spaces. I wish to explore acoustic feedback that occurs in virtual spaces, including the hybrid world of physical and digital space and physical phenomena that occurs from the excitation of feedback through microphones and loudspeakers. I will focus on experiments, reflections, developing techniques and functions that I have discovered while composing and experimenting with pieces that have used processed acoustic feedback as sonic material, microphones and loudspeakers as instruments. The outcome will have brief background and development reflections about my approach to feedback around my personal compositional practice, the historical side of feedback and how it relates to the works of other composers and artists, technical and philosophical content of feedback in compositional situations, and how my compositional approach led me to the term “augmented feedback”. “What if the sonority of feedback was not the center focus point of a piece? What else can we develop by using feedback and imagining it in different sonic landscapes? What is the mystique of its nonlinearity? How can we deal with microphones and loudspeakers as a musical instrument through using software environments?” are the main questions that drove me into researching feedback. Dividing these questions into subcategories: conceptual and compositional.
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