Research Catalogue

On February 19th 2024 took place the 2nd seminar, "Illustrating the absence" of the project "[in]visible - [in]visibility of identities in Portuguese 1st-grade elementary textbooks of Social & Environmental Studies after 1974", at the Faculty of Fine Arts of the University of Porto (Portugal). For the reflection, illustration and critical analysis of the illustration works, there was the participation of the Master's in Illustration, Edition and Print students with the illustrator Júlio Dolbeth and the [in]visible team. Cristina Ferreira and Margarida Dias took the photos, and the session was recorded with audio.

"Platonic devices to reflect the contemporary" is a plastic artwork about the performativity of shadows and the relation between human and nature in the contemporary.

P.A.F. is a project designed to give visibility to road defects that can become obstacles in urban traffic. Taking care of our cities is a real challenge. In Europe, tourist and historic districts are subject to rehabilitation, leaving other areas neglected. Awareness starts with the importance we attach to things. Making things visible is a way of raising awareness. Our cities need to be inclusive, and we need to take care of them in order to take care of our bodies and our uses. The city studied here is Porto (Portugal), but the project is adaptable to a European scale.

Research exposition of Sanne Bakker, as part of her master at the Royal Conservatory of the Hague. This research started with the aim of creating a better theoretical understanding and breaking down the creation process regarding the making of performances with lights. Ultimately, it became a reflection on the performative practice of a classical musician and the interdisciplinary collaboration while making an audiovisual performance. In particular, the process of the visualization of music. Through literary research into interdisciplinarity, audiovisual performances (specifically with classical music), and by doing a musical and narrative analysis through a case study of Paul Hindemith’s Sonate für Harfe, a theoretical framework is created for collaborative preparation with a visual artist and live experimentation. This research then shows the working process and the experiments that were conducted. It concludes with a reflection on the collaboration, the final product, and how playing the harp sonata in this audiovisual setting has affected the performance of the music.

A visual study/moodboard/presentation of a certain conspiratorial and often delusional stereotype of the character of the devil in the context of what was known as "SATANIC PANIC" in the era of 80's and early 90's in the US. Even though many of these associations come mainly from the western world, they have been more or less understood and recognized as "devilish" across the world and in the visual culture. There is a certain stereotype about calling something "SATANIC". Labeling things, activities, clothing, art, products, people etc. as "devil worshipping" often isnt connected to any kind of worship what so ever. There is this re-accuring act of calling out something as "Satanic" often snowballing the situation into an idea of an active threat, thats dangerous to the public. The "SATANIC PANIC" era lead to over a 12,000 unsubstantiated cases of these so called "Satanic practices" and many people ended up in jail because of it. This Satanic labeling has become a parcipatory missinformation quest.

The artistic research project I HAVE THE MOON was an experimental group activity or 'band retreat' for five composer-performers resulting in a public performance in the aDevantgarde Festival, 2019, in Munich. Research was conducted around a central research question stated verbally at the outset of the project: how can aesthetic innovations of contemporary classical music be made accessible to audiences without specialist education or background via communicative techniques of other music genres? After a substantial verbal discussion and sessions of musical jamming, each member created an artistic response to the research question, in the form of a composition or comprovisation, which the group then premiered in the aDevantgarde Festival. The results of the discussion, artistic works and final performance (by means of a video documentation) were then analysed by the project leader and presented in this article. The artistic research position is defined a priori through the research question, during the artistic process in the form of note-taking and multimedial documentation, and a posteriori through a (novel) 'Workflow-Tool-Application Analysis' (WTAA). Together, a method of 'lingocentric intellectual scaffolding' on the emobided knowledge inside the creative process is proposed. Insofar as this embodied knowledge can be seen as a 'field' to be researched, the methodology is built on collaborative autoethnography, 'auto-', since the project leader took part in the artistic process, guiding it from within.