Research Catalogue

an international database for artistic research

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  On Sworld: Report and reflections on an artistic research into how audio can evoke human experiences of absence, ghosts and lost memories, explored through performance and composed walks (2025) author(s): Alexander Holm published in: Rhythmic Music Conservatory, Copenhagen
  Alexander Holm have been developing the artistic research project 'Sworld' on the APD program at RMC in Copenhagen 2021-2024. The project seeks to explore how simultaneous experience of sounds with- and without a visible cause can evoke human experiences of ghosts, absence and lost memories. The project researches and expands on composer and theorist Michel Chion's audio visual concept of Synch Points, examined through a versatile compositional praxis including choreography, text, voice, walks and live performance.
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  Invisible Cities - the experience of negative space (2024) author(s): vittoria pavesi published in: Research Catalogue
  "What is today the city, for us? I believe I wrote something like a last love poem to cities, in a time when it’s becoming more and more difficult living them like cities. Maybe we’re coming to a moment of crisis of the urban life, and Invisible cities are a dream born by the heart of unliveable cities." - I. Calvino, Introduction to Città Invisibili, Mondadori 1983 Starting by a confrontation between two historical utopian projects (Arturo Soria’s ciudad lineal and Constant’s New Babylon) I try to investigate with a broad and heterogenous look the idea of adopting path as fundamental topic of the city: whether Soria or Constant, in different ways, suggest an architecture of roaming, a nomadic and virtual space, that is the same space of cosmopolis, an anticipation of globalized culture that’s identified in a flux-condition and not in a stasis-one. Ciudad lineal and New Babylon projects prophetically forestall many tendencies of contemporary urbanity, proposing an idea of cities that are at the same time hyperlocal and hyperplanetary, ahistorical and superficial, acentric and non-identitary, inhabited by people always in movement. Streets don’t conduct anymore just to some places, they are places themselves: the condition of movement, and the street trail that constitutes his support, represents the urban archetype that is the basis of all contemporary architectonical and social disposition. From the description and comparison of these two projects the Generic City emerges, alienate and privatized, where we’re living in nowadays.
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  Epiphanies of an Invisible weave (2024) author(s): Jenny Sunesson published in: Stockholm University of the Arts (SKH)
  Epiphanies of an Invisible weave essay by Jenny Sunesson, 2022 edited in 2023 Translated by Steven Cuzner Preface (2023) Epiphanies of an Invisible weave is an essay written during the processes of two different, yet overlapping, projects; the research project FACT stage one, and the solar driven, sound art project UNDER. The essay explores the specific capacities and possibilities of sound and listening through the specific mode of field recording, which is the sonic modality that I have exploring for more than 20 years. The essay aims to shed some light on the site-related, political, and hidden potentials of sound as it examines the possibilities of (re)-learning through listening in relation to both human and more-than-human explorations and possible “epiphanies”, imagining openings beyond stereotypical knowing. /Jenny Sunesson Image copyright: Ida Lindgren
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  FORO NO.2 NODOS ACTIVOS (2023): Artistic Research Through Playing (2023) (2023) author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez published in: Research Catalogue
  Systematization of the experiences lived in a space for reflection and dialogue between teachers, researchers and students from various artistic and design fields around the theme “artistic research through playing”. The games implemented in this forum are the culmination of an extensive design and planning process summarized in a second exposition in this catalog titled DESIGN OF GAMES AS ‘HANDS ON RESEARCH TOOLS’ FOR FORUM No.2 NODOS ACTIVOS: 2023’ ( https://www.researchcatalogue.net/view/1920338/1920339) This exhibition recounts the experience of playing those games during the month of October 2023, in the facilities of the Center for Artistic Research, Teaching and Extension (CIDEA) and their surroundings, where the four schools of arts and design of the University come together: School of Art and Visual Communication (EACV), Performing Arts (EAE), Dance School and Music School. Aside from the researchers in charge of the Nodos Activos project, the creative team in charge of the development, design and ‘put to practice’ work implicit in all these research tools/games included EACV students Karolay Mendoza Castrillo, Marian Casanova Guzmán, Iván Sibaja Segura, and Nicole Barboza Alvarez; and EAE student Adrian Campos Chaves.
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  ΟΝΟΜΑΤΕΠΩΝΥΜΑ ΕΛΛΗΝΩΝ ΣΥΝΘΕΤΩΝ ΜΕ ΈΡΓΑ ΓΙΑ ΌΜΠΟΕ Ή ΤΗΣ ΟΙΚΟΓΕΝΕΙΑΣ ΟΡΓΑΝΩΝ (ΑΡΧΙΚΗ ΛΙΣΤΑ ΥΠΌ ΑΝΑΝΕΩΣΗ) (2023) author(s): Christos Tsogias-Razakov - Χρήστος Τσόγιας-Ραζάκοβ published in: Research Catalogue
  Κατά την διάρκεια της εκπόνησης της διδακτορικής διατριβής στο Πανεπιστήμιο Μακεδονίας (Θεσσαλονίκη), σε συνεργασία με το Ιόνιο Πανεπιστήμιο (Κέρκυρα), με τίτλο “Έργα Ελλήνων συνθετών για όμποε: δημόσια εκτέλεση και ηχογράφηση, καταγραφή, ευρετηρίαση”. Έχουν συμπεριληφθεί στον κατάλογο έργων της οικογένειας οργάνων του όμποε (κατά την διάρκεια του τρίτου ακαδημαϊκού έτους - Ιανουάριος 2023), συνολικά τετρακόσια είκοσι-οκτώ έργα (428). Στην ακόλουθη αρχική λίστα, σημειώνονται τα ονοματεπώνυμα των Ελλήνων συνθετών σε αλφαβητική σειρά, που συνέθεσαν μουσικά έργα για την οικογένεια οργάνων του όμποε.
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  Reaerch Fellow at Apass (2022) author(s): Christina Stadlbauer published in: Research Catalogue
  This post master program called Apass enables me to engage deeper with my artistic process and work profoundly with research questions and artistic research. The institution Posthogeschool voor Podiumkunsten is located in Brussels. The proposed topics of my research revolve around other than humans, the imaginary Institute for Relocation of Biodiversity and the philosophy of Kin Tsugi that follows the principles of Wabi Sabi and imperfection.
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  Reclamation : Exposing Coal Seams and Appalachian Fatalism with Digital Apparatuses (2020) author(s): Ernie Roby-Tomic published in: VIS - Nordic Journal for Artistic Research
  The mountainous geography of Appalachia has been shaped by the coal industry since the post-Civil War Reconstruction Era of the United States. Mountaintop Removal (MTR) is a controversial and highly destructive surface-mining method flattening the mountains of Appalachian since the 1970s. The rise in massive energy consumption correlated to consumer electronics, automation, and technocratic neoliberalism have irrevocably flattened the surface and culture of Appalachia. Reclamation is the final act in MTR mining in which the mine operator is obligated to ecologically restore the land. Where MTR sites were once hidden away, and even photographing them is considered an act of trespassing, today I can bear witness to the destruction of the mountain topology by connecting to Google's Earth (not to be confused with earth-Earth). Despite the remote locations and inaccessibility of the sites, the data is particularly rich due to the economical advantages of mapping the region for the coal industry. In this exposition, I make my own reclamation as one in the generation born after the boom of coal production and its inevitable decline. I am reclaiming the 3D geospatial data of MTR and mining disaster sites, extracted from the servers of Google Earth. I recontextualize these geospatial assets to compose a visual prosopography of those surfaces.
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  Aesthetic practices of very slow observation as phenomenological practices: steps to an ecology of cognitive practices (2020) author(s): Alex Arteaga published in: RUUKKU - Studies in Artistic Research
  This exposition presents three aesthetic research practices (framed dialoging, wiriting exploratory essays and the reading circle), one framework for realizing another aesthetic practice of research (notation) and the outline of four concepts originated by pefroming these practices and that, in turn, frame and underpin their performance (aesthetic practices of very slow observation, aesthetic research, aesthetic cognition and aesthetic phenomenology). All these practices and conepts converg towards the central idea in this exposition: the ecology of cognitive practices.
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  MEMORY AS A METHOD FOR FILMMAKING (2019) author(s): Emilio Angel Reyes Bassail published in: Journal for Artistic Research
  This research develops a method for filmmaking that uses autobiographical memory as a guiding principle for the production of images. The proposed method comes as the result of a double gesture in which I wanted to a) acquire a subjective understanding of memory that came from artistic practice; and b) materialize the process of memory through film. I used the filmmaking apparatus as a technique to give visibility to the process of remembering and forgetting: I worked with strategies such as the elaboration of a “memory diary”; the drawing of spoken portraits and locations based on memories; casting techniques which involved a dialectical approach towards memory; scouting trips to find places from my memory; hypnosis sessions as a technique to recover lost memories; reenactments of memories; a method to direct actors that relied on memory as a guiding mechanism; and the editing of the footage through a process of memory associations. While doing this research, I inadvertently found that the techniques I used led to a process in which memories were rewritten through experimentation. Thus, the method produced a conceptualization of "memory" that frames it as a creative process. In the process of working on this project, I developed a very subjective approach to the craft of filmmaking that was informed by my particular relationship with memory. Thus, the proposed method of using personal memory as a core mechanism for the production of audio-visual products can be utilized as a tool for film education, promoting the creation of personal film languages based on an individual's memory, and as device to reflect on the subjective process behind an individual's artistic practice.
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• Voyager's Record (2018) author(s): Paulina Brelińska published in: Research Catalogue
  Point of departure. The exhibition "The Voyager's Record" refers to traveling as such a form of mobility, which results from the internal need to see inaccessible, undiscovered, lost and mysterious places. Its title refers to the name of two gold-plated disks - The Voyager Golden Record - which was placed in the 1970s on board of spacecraft launched as part of the Voyager program. There were some specific recordings and photographs on these disks that were supposed to show the life cycle of the human species on Earth to the extraterrestrial viewers. The exhibition showing the latest works created by young artists figuratively refers to the untamed dreams of seeing unknown lands and what is more the cosmos. Artists’ projects pay attention to the images and elements of nature that interest them during their “expeditions” (expedition is translated as “mobility organized for a specific purpose”). Such concept situates the artist in the position of a researcher/explorer who archives/documents reality and nature for a specific purpose. These objects are deprived of the features of the “artifact” (translated as “incorrect element of the scientific research result”). On the contrary, they become a specific scientific record depicting life on Earth. During the nineteenth century, when the ideological trend called romanticism was developing, the author of the book “COSMOS. Alexander Humboldt's physical description of the world” noticed that nature is a constant object of the discoverer's fascination. When observing the works of contemporary artists, the aforementioned glorification of nature seems to be still super important. Humboldt wrote: "Children's joy at the sight of the particular figures of the countries and the closed seas, as geographical cards show us; the desire to see the constellations of the southern sky that are not on our firmament; images of palm and Lebanon cedars in the holy scriptures; they are all things as an example cited, and which are capable of awakening in the young soul unreasonable desire to see distant lands.” 1 The exhibition is a story about spiritual travels, as well as about feelings that accompany the search for one's own nature. Staying in a state of suspension, properly distant from reality, very credible memorabilia arise - telling a lot about the Earth itself. However, it is not so much its scientific portrait that is important but the presentation of our planet from the perspective of the internal experiences of its inhabitants. Paulina Brelińska
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  Exorcising Unhomely Street: Filmic Intuition and the Representation of Post-concussive Syndrome (2017) author(s): Susannah Gent published in: Journal for Artistic Research
  My interdisciplinary, practice-led research involves a diverse methodological approach, including experimental film production, continental philosophy, psychoanalysis, and neuroscience. In this exposition, I review the role of intuition in creative practice, and the influential factors when the work of art ‘happens’. The short, experimental film Unhomely Street represents the experience of post-concussive syndrome through a surrealist narrative with historical accounts of atrocity and anti-capitalist polemics. Having employed a new approach to filmmaking — a spontaneous method in which artistic decisions are informed by emotional tone rather than narrative concerns — I reflect upon this creative play. I draw on the work of neuroscientist Antonio Damasio, specifically his view that emotion underpins consciousness, Freud’s theory of the unconscious, and Irving Massey’s understanding of metaphor as the original, pre-linguistic language of thought.
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• Material in the artistic process (2017) author(s): Michael Kargl published in: University of Applied Arts Vienna
  The materials used in a work of art are not necessarily determined from the start. The contemporary artistic work process involves a great deal of experimenting in order to arrive at the most suitable material to realize an idea. In this test phase one also risks altering the complete work, its parameters, characteristics, and not least its final appearance. This process of material-based transformation has a two-fold effect: first, on the artwork itself (its haptic conditions), and then on its perception, which in turn influences the specific form of aesthetic recognition actuated by the artwork.
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  The slippery trail: The mollusc as a metaphor for creative practice (2015) author(s): Karen Savage published in: Journal for Artistic Research
  This exposition documents several years of process-driven practice-as-research. The work explores themes of womanhood, embodiment, and autobiography. Throughout the exposition I argue that the embodiment of process is key to understanding practice-as-research. I propose that practice-as-research projects don't always begin with a ‘final output’ in mind. Instead, the practice of practice-as-research should be reconsidered throughout its development; it should use its potential for liminality. It is the demonstration of a ‘living process’ – living in process. However, what becomes key within the practice is a clear articulation of process, and how the research is recorded as part of that process. In this work, 'writing about practice' and performative practices are integrated, enabling a dialogue between various creative responses as well as offering access points to the research in a variety of forms. This exposition explores ways in which we live in process through a presentation of text, visual essays, and short film and video pieces. The work develops from creative artefacts and critical text into a piece of responsive writing, 'A Play of Characters'. This playtext reconsiders some of the influences in the work and explores the imagery of the whole project in a performative context. The notion of embodiment and a 'living body of work' is developed further through the use of metaphor, in particular the metaphor of the mollusc. I use this to consider how practice evolves alongside process, 'housing' both the work and the process in both material form (the shell) and trace (the snail trail). Different combinations of this work have been presented as performance installations, both at the University of Portsmouth, as part of my PhD examination in 2010, and at the University of Lincoln, as part of the Gnarlfest in 2014. However, by the very nature of 'living in process' this is a work that continues to evolve and 'live' in different forms. The purpose of this exposition is to explore the work in an accessible online form – one that offers alternative platforms and sequences, creating different possibilities and readings of the practice.
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  Research results of the Royal Conservatoire in The Hague (last edited: 2025) author(s): Royal Conservatoire in The Hague This exposition is in progress and its share status is: visible to all.
  Here you can browse the archive of research expositions. This includes: - Research projects of all master students. - Publications by the lectorates. - Research by staff members.
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• KC Research Portal (last edited: 2025) author(s): Casper Schipper This exposition is in progress and its share status is: visible to all.
  This is the landing page for the Royal Conservatoire in The Hague.
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  JENNY SUNESSON (last edited: 2025) author(s): Jenny Sunesson This exposition is in progress and its share status is: visible to all.
  Jenny Sunesson (b. 1973) is a Swedish artist predominantly working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.
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  AN OVERVIEW ON THE ARTISTRY OF THE CONCERT ACCORDION IN CONTEMPORARY CHAMBER MUSIC. A Performer’s Journey Through Shaping Artistic Identity (last edited: 2024) author(s): Naiara De La Puente Vadillo This exposition is in review and its share status is: visible to all.
  In my doctoral research, I aim to examine the role of the accordion in contemporary chamber music performance practices through a process of observation, exploration, examination, and reflection as an accordionist. The focus of this project is centered on four doctoral concerts, in addition to my own embodied experience as a professional musician in Finland and Spain, working with various ensembles and musicians. By integrating artistic processes, outcomes, documentation, interviews, and text, this research aims to contribute new insights and findings to the field of artistic research and to provide a more comprehensive understanding of the complexities of modern accordion performance, professional career, and education. This doctoral research project makes an original contribution to the field by exploring new knowledge and understanding related to artistic identity formation, specifically within the community of concert accordionists. By reflecting on the evolving identity of concert accordionists and considering their potential needs, this research sheds light on the present and future directions in the field. In addition to my own experiences and observations, I have relied on the valuable work conducted by predecessors who have researched various aspects of the concert accordion. The full scope of this doctoral project includes four artistic components (four concerts) and an artistic doctoral thesis comprising an integrative chapter with three interrelated thematic sections. Section One delves into the aspects of the artistic possibilities of concert accordion in contemporary chamber music repertory. Section Two will analyze and examine the evolution of the accordionist's artistic identity formation, while the final section will provide a personal perspective on the evolving identity of concert accordion players and their potential needs within the field and proposes steps for their continued growth and development in the future. Keywords: artistic research, embodiment, classical contemporary music, chamber music, accordion, artistic identity.
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• In search of... (last edited: 2024) author(s): Ekaterina Butorina This exposition is in progress and its share status is: visible to all.
  A platform for speculation, mapping, and spatial thinking comprises ongoing research projects that concentrate on practices acknowledging the constant flux at the intersection of body, world, and technology. I experiment and explore how cartography and its connections influence the perception of space, encompassing its visual and sonic trails.
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• Suzan Preliminary Research (last edited: 2024) author(s): Olga Balinska This exposition is in progress and its share status is: visible to all.
  Preliminary Research for 4th Year Bachelor of Choreography End Performance
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• A. Scriabin - Music, Colors & Poetry (last edited: 2023) author(s): Nikos Flokas This exposition is in progress and its share status is: visible to all.
  Scriabin's will to combine arts. Colors, Poems, Imagery, Imagination. A composer that brakes the norms.
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  Lectorate Event 2019 (last edited: 2022) author(s): Casper Schipper, Koncon Master Coordinator This exposition is in progress and its share status is: visible to all.
  This is a short report of the lectorate event on 25th of January 2019
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  Stolen Voices (last edited: 2022) author(s): Rebecca Collins This exposition is in progress and its share status is: visible to all.
  Stolen Voices is a multi-component output consisting of four performances, an album, a peer-reviewed journal article and a book publication. The output is a collaboration between Rebecca Collins (University of Edinburgh) and Johanna Linsley (University of Dundee). Stolen Voices forms part of their five-year (2014–2019) project which invests eavesdropping as a method, combining this with a semi-fictional detective story. An ‘event’ has taken place in 4 sites on the UK coast (Bournemouth, Felixstowe, Seaham in County Durham and Aberdeen) and Collins & Linsley have been tasked to investigate. Eavesdropping is both subject and methodology of the research. Fieldwork in the form of site explorations and the practise of eavesdropping is combined with research into social, political and economic dynamics at the borders and margins of the UK, such as immigration and the impact of climate change on coastal landscapes.
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  UNSCHÄRFEN DRITTE ART KONFERENZ (last edited: 2022) author(s): Florian Tanzer, Andrea Sodomka, Doris Ingrisch This exposition is in progress and its share status is: visible to all.
  Unschärfe verweist auf Dimensionen, die uns Welt anders wahrnehmen lassen – in der Kunst, in der Quantentheorie und in den Gender Studies.
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• RECONNAISSANCE (last edited: 2021) author(s): Hélène MUTTER This exposition is in progress and its share status is: visible to all.
  This project represents more than 10 years of research about military and personal archives from the first Gulf War (1991). "RECONNAISSANCE" was the exhibition for my PhD thesis defense in 2020, both an artistic and a theoretical reflexion about images produced in conflict situation.
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• Pajęczyna ROZRUCHY BADAWCZO-ARTYSTYCZNE W SZTUKACH PERFORMATYWNYCH: ZBLIŻENIE NA TANIEC, RUCH, I CHOREOGRAFIĘ (last edited: 2021) author(s): Tercet ¿ Czy badania artystyczne ? This exposition is in progress and its share status is: visible to all.
  Przygotowany przez nas tekst dotyka problemu specyfiki badań artystycznych na gruncie sztuk performatywnych ze szczególnym uwzględnieniem praktyk ruchowych, tanecznych i choreograficznych, osadzonych w polskim kontekście. Do napisania tekstu zaprosiły nas osoby związane z Pracownią Kuratorską (Zuzanna Berendt, Anna Majewska, Maciej Guzy, Weronika Wawryk, Ada Ruszkiewicz) - z którymi intensywnie dyskutowałyśmy, konfrontowałyśmy wyobraźnie i konsultowałyśmy nasze pomysły dotyczące obranego przez nas kierunku prowadzenia narracji. Uważamy, że eksplorowanie i systematyzowanie (nawet nierygorystyczne) praktyk twórczo-badawczych, wymaga bliskiej współpracy z tymi, którzy tego rodzaju działań się podejmują. Dlatego do różnych etapów pracy nad tekstem zaprosiłyśmy do wymiany i konsultacji osoby blisko związane nie tylko z badaniami artystycznymi, ale również z szeroko pojmowanymi ruchem, tańcem, performansem.
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  BETWEEN US (last edited: 2020) author(s): Doris Ingrisch, Florian Tanzer This exposition is in progress and its share status is: visible to all.
  A scientist invites a choreographer and dancer for a project. “Science and Art in Dialogue. Theoretical Reflection and Experimental Arrangements” is the title of this undertaking, which developed out of an engagement with the connecting lines of science, art, and gender. The first experimental arrangement is a space of encounter, of getting to know each other.
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  COLLECTING: Quarantine Journaling (last edited: 2020) author(s): Emma Bourguignon This exposition is in progress and its share status is: visible to all.
  Work in progress
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• NORDIC NETWORK for VOCAL PERFORMANCE RESEARCH (last edited: 2018) author(s): Elisabeth Laasonen Belgrano, Päivi Järviö, Susanne Rosenberg, Milla Kristina Tiainen This exposition is in progress and its share status is: visible to all.
  NNVPR seeks to promote innovative (cross-disciplinary) research and teaching relevant to the Vocal Performance Studies. The network will strive to inspire, exchange and debate on issues relevant to vocal performance research among scholars, graduate students, postdoctoral fellows, staff, and other interested members of the research community.
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  The Drawing Board #6 (last edited: 2018) author(s): Rhiannon Jones This exposition is in progress and its share status is: visible to all.
  Traci Kelly and Rhiannon Jones Writing as object. Writing as materiality. Writing through the body. Writing the subject into being. A laboured breath, a subversive gesture, a consideration of materiality and difference are the urgent concerns of Traci Kelly and Rhiannon Jones as they write through the body. Resisting narrative and authorship they seek the preform and fractured modes of writing that adhere to a multivalent feminine. This entry is offered as a sharing of some of the documentation gathered from an emerging body of work-in-progress. There have been encounters with other artists and researchers during the two-month residency, including Terry Shave, who made Kick and Kiss in response to witnessing the collaboration. The artists have utilised this collaboration to destabilise language and expose its underlying structures. This project offers a feminine approach to writing, which often has a male primacy. The artists are interested in preform, sounds that do not yet make words and the performative quality of the body as both a written language and as a site of inscription. The installation of their residency documentation explores place and plays with the shifting roles of the readerly and the writerly, whether through body or physical spaces the work inhabits. The Drawing Board The Drawing Board is a space for handwritten performances that aims to turn a corridor into a destination and to return the walls of an old school building in Nottingham to their former use as a place of display. Curated by Michael Pinchbeck, The Drawing Board explores how we write, how we perform writing and how writing performs. All rights Kelly and Jones 2018
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