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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Playing in Tongues - Possible dialogues between Odissi dance and experimental electronic music (2025) Francesco Gulic
How can dance and music, an art rich of history and a recent practice, the living body and digital immateriality communicate with each other? This project explores these questions through a live electronics performance in interaction with Odissi dance, one of the eight classical Indian dance forms. The performance combines fixed and improvised elements, fostering a dynamic interplay where music sometimes leads the dance and at other times responds to it. The work mirrors the traditional Odissi performance arc while reinterpreting it through a contemporary Western compositional lens. The sound material is created using SuperCollider, a code-based music synthesis platform. Algorithmic processes govern parameters such as duration, pitch, and amplitude, while real-time interventions are performed via a MIDI controller, enabling a fluid and reactive sonic environment. Several collaborative experiments inform the project’s development. Conducted both remotely and in-person, they involved exchanging musical sketches and choreographic responses, fostering a conceptual understanding of each other's creative processes, and enabled immediate feedback and improvisatory interaction, revealing how abstract sound gestures are interpreted by the dancer as vivid metaphors of natural phenomena through the expressive language of mudra. This project embraces the idea that meaning in performance does not pre-exist but rather emerges through the interweaving of gesture, sound, attention, and relational space. Rather than seeking fixed correspondences between music and dance, the collaboration foregrounds the instability and fluidity of sense-making as a shared experiential process. Movement and sound co-construct each other in the moment, guided by intuition, somatic listening, and a continuous negotiation of presence. In this light, the work becomes less about illustrating pre-defined narratives and more about cultivating a living texture of interaction—an evolving field where different temporalities, traditions, and sensitivities resonate and transform one another. Informed by Andrée Grau’s insights in Intercultural Research in the Performing Arts (1992), this project also approaches collaboration not as a neutral meeting ground but as a space charged with cultural histories and asymmetries of knowledge. Grau urges us to move beyond celebratory notions of “fusion” and to critically examine how traditions are represented, adapted, and negotiated in performance. In this light, the work does not seek to erase difference but to hold it in tension, encouraging a space where both artists remain grounded in their respective practices while allowing mutual transformation to occur. Rather than simplifying or assimilating Odissi into a Western framework, the collaboration is framed as an encounter—sometimes smooth, sometimes resistant—that reflects the complex, evolving nature of intercultural exchange. Here, meaning is not given but co-constructed through attention, respect, and a willingness to remain in the discomfort of not fully understanding. Bibliography Grau, A. (1992). Intercultural research in the performing arts: A critical review. Edinburgh University Press. Jayadeva. Gītagovinda. Tr. Giuliano Boccali (1982). Adelphi. Cassio, F. (2000). Percorsi della voce. Storia e tecniche esecutive del canto dhrupad nella musica classica dell'India del nord. Ut Orpheus Edizioni. Frödin, K. Unander-Scharin, Å. (2024). FRAGMENTE2. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=2045845 Frisk, H. (2025). Sound intuition. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=3025541 Giordano, S. The emerging sense. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=1220694
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Delphi and Delos, a Journey (2025) Olivia Penrose Punnett
This video essay explores the sacred landscapes of Delphi and Delos, studying their historical significance as a centres of female knowledge, through embodied, intuitive, and affective engagement. Thinking about Ada Lovelace’s notion of poetical science, the site visits seek to trace the contextual and geographical roots of this concept. The film approaches knowledge as a sensuous, relational and embodied process, one that resists dominant rationalist and technocentric paradigms. The voiceover, recorded in Greece, threads reflections from Hélène Cixous’s The Laugh of the Medusa (1976), Karen Barad’s Diffracting Diffraction (2014), and Sasha Biro’s The Oracle as Intermediary (2022) from Otherwise Than Binary, New Feminist Readings in Ancient Philosophy and Culture Decker, J.E., Layne, D.A. and Vilhauer, M. (2022). Through these situated readings, the film proposes curating research and thinking through place as not merely interpretive but performative: an intra-active practice between self, site, and matter. The work explores myth and reverie, positioning the body in context as instrument. It proposes an expanded curatorial methodology rooted in presence, sensual attention, and poetic science - where intuition is included, and the landscape is approached as co-creator.
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RC Visual Map / Screenshot of the RC (2025) Casper Schipper
A visual map of the RC. Hover over a screenshot to see the title and author. If you click you will see a gallery with a screenshot of each of its weaves. There is a form which allows you to filter based on title, author, keywords, abstract and date. For an exposition to appear in this map, it needs to be public (share -> public or published). The map is updated once every 24 hours. There is an alternative map that allows you to browse all research by keyword.
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Experimental music for children (2025) Sigrid Sand Angelsen
This research consists of the artistic and organizational process of creating a workshop called “Experimental music for children”. In this exposition you can read about how I and my fellow musicians created a workshop for children through eight workshop sessions that took place between February 2024 and January 2025. This resulted in an interactive workshop with children about co-creation, exploration and art making. In addition, this research explores how such a project affects my personal artistic development. In this exposition, you can read about the construction and development of the workshops, and how they evolved into a concrete artistic project. The data collected from the workshops was organised through the merging of critical reflection and analysis. The theoretical part of this research is based on literature and observations of experimental music, art for children and similar experimental music projects. These references serve as material for developing and concretising the artistic vision while shaping the project and ensuring its place in the artistic field as well as the realm of educational research.
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“Blanton’s bass peels the ceiling six blocks away”: Elusive bass tones and historically informed jazz recordings (2025) Matthias Heyman
One of the aspects Jimmie Blanton (1918–42), best known as Duke Ellington’s bassist between 1939 and 1941, has been most praised for is his tone, particularly its loudness, which has been characterised as “outsized,” “resonant,” “roaring,” and “huge.” While Brian Priestley (2009, 85) observed that tone is often “thought of as god-given,” I wanted to understand why and how Blanton’s tone was (perceived as being) different from that of his peers. I examined several possible impact factors, such as his performance technique and instrument, but found none differed significantly from those of his fellow bassists. Eventually, I (partially) found the answer by recreating Blanton’s music. In this exposition, I examine an experimental recording session by the Brussels Jazz Orchestra and myself on bass in which we recreated the circumstances of a 1930s–1940s Ellington performance, both live and in the studio, in a historically informed way, for example, by using historically appropriate instrumentation, repertoire, location, recording set-up, and performance practice. The outcome revealed that specific changes in the orchestra’s seating plan were key to Blanton’s perceived superior tone. Using media samples, I review the preparation, recording process, and results, drawing on a combination of visual analysis of historical photographs, complete participant observation, comparative auditory analysis, and formal and informal (semi-structured) interviews with participants.
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Stretch: Spectral Theory in the Practice of a Jazz Quartet (2025) Piergiorgio Pirro, Maarten Stragier
With this exposition, we share the creative process that led to the composition and performance of Stretch, a piece by a jazz quartet led by pianist Piergiorgio Pirro. We will show that introducing theoretical models and paradigms from spectralism as a “foreign body” into the workings of a small jazz band illuminates a complex network of factors at play in the band’s music making, leading to a thorough reconfiguration in which new instruments get built and played, old habits need to be unlearnt, uncommon interactions emerge and theoretical frameworks clash in practice.
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