Research Catalogue

This exposition is associated with The paper with presentation: "Inventing a Versatile Platform for Instrument Augmenta- tion and Electroacoustic Composition" for International Computer Music Conference in Boston 2025.

This exposition gathers all the essential information needed to get started with the Research Catalogue (RC) platform at the Iceland University of the Arts (IUA). It offers a clear overview of how to create a profile, start an exposition, and navigate the basic functions of the platform. The goal is to provide staff with a central reference point for working with RC in the context of artistic research and institutional use.

The EcoSomatics Conversations Series invites sharing of engagement, practices and thinking around environmental awareness through embodiment activities, dance and art. It posits a definition of EcoSomatics as of the body-mind-ecology and takes the form of open public dialogues between two (or more) people: independent artists, practitioners, and academics. The project was conceived by Dr Polly Hudson, (Royal Birmingham Conservatoire, Birmingham City University), and the conversations are co-convened with Dr Karen Wood, (Birmingham Dance Network and C-DaRE). The conversations took place virtually with a large international audience, and the podcasts are audio recordings of the live events. It is supported by funding from ADM Faculty Research Investment Scheme, Birmingham City University. Image by Ming de Nasty.

Abstract This Research Catalogue exposition with audio-visual examples documents ongoing research into artistic interactions helping to ascertain and streamline prosocial and empathic behavior in groups with divergent backgrounds and modes of thinking and how these skills can benefit the artistic endeavors positively. Promoting intersociality and an empathic approach to collective music making amongst individuals who represent different schools of musical thoughts and styles or expertise, as well as bringing to the table divergent cultural backgrounds and individual characteristics is the aim of Ensemble Improvisation Experimentell (E i E), founded and lead by me at the Music and Arts University of the City of Vienna (MUK) since February 2021. In a world of pandemics, climate crisis and war it may seem idealistic, even fanciful, to search for moments of ‘shared empathy’ or creative symbiosis amongst musicians in professional exchanges and its influence on artistic experience and outcome, without immediately searching for ways of dimming the fire of destruction through war and climate crisis that our global society faces. However, finding micro-solutions through artistic endeavors and promoting a more sustainable future for the arts themselves in general, and specifically for the genre of contemporary music, is a valuable goal and tool for infiltrating humanism with sustainable thinking and acting patterns. Extensive video and audio documentation of practice sessions and performances, as well as exemplary images are attached to this exposition.

The project is a semi-graphic notification of the artist/author’s initiatives to stretch fiction – so-termed analogous to the stretcher component of an umbrella – in his language-based and visual practice. The referenced time-frame is from 2014 through 2025. The contention is that if one considers oneself as subject within one’s work, amidst whatever the work's more objective concerns, then it is a fairly obvious next step to third-person oneself – in the sense that a writer such as Fernando Pessoa invented heteronyms. While in visual practice such a prospect is, arguably, more difficult to articulate, a fictional element instilled in art- or other academic writing already has certain precedents in more experimental writing in the latter fields. If, as in the artist/author’s case, such writing is an adjunct to one’s visual practice, then a fictional characterisation of oneself as another can comment on and variously inhabit one’s visual work. Unlike how characters often populate fiction, however, the artist/author’s strategy is to only partly develop them, hence having them oscillate as, themselves, a question of relevance.

This project explores the cultural disappearance of Czech railway station pubs—once vibrant, affordable communal spaces where different layers of society met. As gentrification and modernization erase these places, the project treats them as social relics: through photography, objects, gestures, and staged re-enactments, it asks what is lost when shared public rituals fade. The research approaches the railway pub as a vanishing cultural microcosm. The aim is not only to document, but to interrogate the meaning of these spaces for both national identity and personal memory.