Research Catalogue

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children: how they love, amongst other. I wanted to emphasise that element, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp, but intimate twist, as commentary, in the British tradition of political satire, to the otherwise dark subject matter. Finally, this artistic style refers to the populist character of actors. The text is written like trip-hop songs: two of the pseudonyms I gave are the artistic names of musicians of colour from the British band "Massive Attack", formed in Bristol. Otherwise, it is loosely structured in a manner inspired by television series. I used heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition displays loosely and in lay terms vocabulary as rhetorical devices from analytic metaphysics, as well as gender and romance studies; for instance, I use the word "unactualised" to refer to individuals, who are real and concrete, who exist independently of my mind, however they were not "actualised" in my so-called personal life and dating practices: for that, I would have to select them, in order for them to be "instantiated" in my dating. The exposition is underpinned by an underlying neo-Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, as painting, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For "M" ('Ramadan', 'Julien', "Mr X"), Filip ('Philip'), and Brandon ('Magna') (and Nick) - August, September, and October 2024 (March 1996). For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego"), 'Moussa', 'Gaetan'; Black 'Humbert Humbert' and friend, 'Miloud'; Mohammed' ('Onzedouze'), 'Hermando', and 'Nesseem' - December 2024, January 2025, May, June, July, August and September 2025. Six men of colour and seven white men - or, more accurately, seven and six, or six and seven. Who were also targeted, directly and indirectly. Who are not politicians, except for a current one and a former one, but are doing something political, so they must take good care of what they do. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

Professional Doctorate in Arts + Creative is an educational pilot program in The Netherlands for an advanced degree in universities of applied sciences. The PD program at an university of applied sciences is developed to train an investigative professional. This portal is a platform for publishing artistic research generated by the PD candidates. Within the Professional Doctorate program, this portal will also be used as an internal tool for documentation.

WITHDRAWING THE PERFORMER WITHDRAWING THE PERFORMER is conceptualized and conducted collaboratively by Charlotta Ruth (SE/AT) and Jasmin Schaitl (AT). The starting point are two artistic practices based on methods of mindfulness and game/play; Performances for the Mind and Choreographic Clues. These two individual perspectives on participation emerge from the project leaders’ ongoing artistic research and merge in their common artistic curiosity in the facilitator role and facilitating the creation of immaterial material. Accompanied by neuroscientist and performer Imani Rameses (US/AT) the research asks: How does immaterial material perform within participatory situations? What role does participatory setting play and how does participation differ if situations are communicated as a workshop, a treatment, a practice or a performance? How can neuroscience support how immaterial and participatory art practices are developed and described? What relation exists beyond involvement and how can a participant become the situation rather than being part of a situation? What has to occur in the mind and body for this to happen? Through practice and dialogue conducted with experts in the fields of contemplative sciences, sound art, choreography, game art and somatics, the research explores how input from participants (e.g. memory, thought, emotion) can be placed at the centre of a flexible yet framed performance situation. WITHDRAWING THE PERFORMER was realised in collaboration with the Angewandte Performance Laboratory 2021-2022. In the course of the project, a lecture was given at the Center for Didactics of Art and Interdisciplinary Education, and a public series was realised at Kunsthalle, Wien & Angewandte Performance Lab. Collaborating expert practitioners and dialogue partners are: Philipp Ehmann (AT), Nikolaus Gansterer (AT), Mariella Greil (AT), Dennis Johnson (US/AT), Anne Juren (FR/AT), Krõõt Juurak (EE/AT), Imani Rameses (US/AT), Christian Schröder (AT), Lucie Strecker (DE/AT).

Lectures, panel discussions, and conferences are formats for collective listening, but they took on conventions that make listening difficult: reading aloud complicated texts, speaking quickly in order to squeeze as much material as possible, showing slides with long texts, sitting for a long time without moving. Silence is considered awkward, so there is little time to think about what has been said. In this video paper, I dissect the decorum of oral presentation formats in academia and outline how the attention of the members of an audience diverges and converges with that of the speaker. I also share some observations about verbalizing non-verbal ideas, in particular about how a text description at the beginning of a project can tie its loose ends too tightly. At the end of my talk at the Klagenfurt conference, I handed out questionnaires, in which I asked the audience members to mark the sentences which they remembered from my talk. Then, while another presenter was speaking, I drew a graph of mind wandering of the audience members based on the questionnaires and showed it at the end of the session. In the second part of this video paper, I explain the process of evaluating the responses and present the resulting graph.

This research is grounded in the relation between listening and orientation through a kindred gesture: tending towards. Its object of inquiry is the dialogue between Paul Celan’s poems and Gisèle Lestrange-Celan’s etchings in the publication Atemkristall (Brunidor 1965, Vaduz). The choice of this pairing arises from the possibility of bringing together two elements: the breath and the ground. I follow the flux and exchange between breathing gestures and inscription across the poems and etchings, approaching the images not as illustrations or representations of the text but as spatial configurations of encounter—between readers, listeners, makers, and witnesses. Attendance as a gesture of attention becomes palpable when the poet imagines that “the poem is pneumatically touchable” and that “the reader breathes into the poem.” In this turning-towards-the-poem, the etchings invite a reading of the poet’s gesture as it inclines toward another practice and medium. My interest lies in how, within this publication, both media affect and reorient one another, generating a shared space of reading. Extending this form of listening means approaching the relation between word and image as the opening of spaces of attention—listening as inclination, as stance, before any immediate attempt of translation.

At the beginning of the COVID-19 pandemic in 2020, we, in our role as lecturers, conducted hybrid workshops with design and art students from ten partner institutions on five continents. Our goal was to explore soundscapes from different viewpoints, and we were deeply impressed by the outcome. The recordings and their accompanying images and conversations dissolved geographical borders along with social, cultural, and structural differences. We found that a re-sonance or con-sonance emerged from this collective work, in which sounds became manifestations of presence and agency; the sociality and simultaneity of the space we shared together remains with us today. With becoming soundscape, we attempted to bring the social resonance we had experienced in the workshops into the lecture hall.