Research Catalogue

an international database for artistic research

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  5. Staff Publications 2024 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2024. Each project reflects the rigorous process of inquiry and creative exploration that defines our institution's commitment to advancing the field of artistic research. While some of our research is featured elsewhere in journals such as VIS or JAR, this collection highlights the significant contributions that remain within our own portal, underscoring the diversity and richness of the work conducted by our researchers.
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  4. Staff Publications 2023 This issue presents the finalized and peer-reviewed artistic research projects completed during 2023. These works exemplify our institution's dedication to pushing the boundaries of artistic inquiry and practice. Although certain projects may be published elsewhere in journals such as VIS or JAR, the research featured in this collection remains integral to our portal, highlighting the breadth and impact of our researchers' creative endeavors. Each project here stands as a testament to the successful and innovative research conducted within our community.
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  3. Staff Publications 2022 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2022.
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  2. Staff Publications 2021 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2021.
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  1. Staff Publications 2020 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2020.
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  0. Published Research by Advanced Postgraduate Diploma students Select final projects of our Advanced Postgraduate Diploma Students
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  0. Ongoing research by staff A look into ongoing projects

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  a new kind of vaziri (last edited: 2024) author(s): Puyain Sanati This exposition is in revision and its share status is: visible to all.
  In this exposition I’m showing you my journey for these past two years of investigating my artistic practice through the meeting of identity and aesthetics. Due to my Iranian background, I have felt a need and curiosity to bring together my Iranian and European identities. This project is a dialogue between myself and music, encompassing sounds, arrangements, physical presence, materiality, technology, context, and politics. By politics I mean; history, cultural appropriation, diversity, colonisation, beliefs, and the current needs of the western culture. A project involving confrontations with habits, default parameters, and elements within digital audio workspaces, thereby incorporating scales.
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  Concentric Cycles (last edited: 2024) author(s): Emanuel Elischa This exposition is in revision and its share status is: visible to all.
  “CONCENTRIC CYCLES” is a personal artistic reflection of a 2 year growing process, in which I investigated artistic perspectives & the aesthetic potential around the context of circular rhythmic, as well as ambient electronic music through a linear sequence based improvisation like Oren Ambarchi, Mark Fell, Barker, Iku Sakan, concepts from Cosmic Kraut Rock, as well as the cyclic perspective & influences of Classical Indian Music. The research addresses the paradox between linear and circular perception and contributes a poetic outcome to the spiritual and philosophical context of Evolutionary Astrology & the Buddhist Heart Sutra as a paradox of dualism. A reoccurring association in my musical language is the circulation, contrasted to a linear based & sequenced polarity in perception. I explore the perceptional borderline between circularity and linearity, which is induced through recurrent and transforming sonic fluctuations in an electro acoustic & modular electronic set up. This catalogue takes the form of a reflective text, with a specific focus on the working methods, contextual placements, considerations & personal psychological analysis, as well as the evolutionary intention of the process that opened up for me during all the cycles I went through.
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  Meridiana: Lines Toward a Non-local Alchemy (last edited: 2023) author(s): Søren Kjærgaard This exposition is in revision and its share status is: visible to all.
  “Meridiana: Lines toward a non-local Alchemy” investigates the line as a sonic, textual and visual phenomenon. Taking off from the four literary voices: the Dutch philosopher Baruch de Spinoza (1632-1677), the French philosopher Gilles Deleuze (1925-1995) and the Chinese Taoists Lü Yan (796 C.E.) and Sun Buer (1119–1182 C.E.), a multitude of meanings are interwoven in a rich network of musical, textual and graphic lines. The line as a basic concept is emphasized by the first word of the title, Meridiana (plural for meridian), which has terminological roots in both the East and the West. In Western terminology, it denotes one geographical line connecting the North and South Pole. In the East, originating from ancient China, meridians (经络) are energy pathways of the body (both human and non-human), which connect internal organs and a number of vital points in a neurological network. The meeting between these two interpretations of a "meridian", between the geo-physical and sub-physical, between East and West, are the cornerstones of the project, which intention is to weave together the various meanings and emphases of meridian, while at the same time unfolding an expanding an intersection of lines: sonic lines, textual lines, graphic lines.
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