Research Catalogue

Sketchbook of 53 A3 drawings with coloured markers, including 4 A3 collages with newspaper cutouts and printed photos. Sketchbook cover with red nail polish. 22 A4 drawings with ballpoint pen. Preparatory work, 2023-2024.

Modo de trabalhar no projeto coletivo na plataforma RC: Owner do projeto de grupo é o Ivan, todos os outros são co-autores.

Modo de trabalhar no projeto coletivo na plataforma RC: Owner do projeto de grupo é a Carolina, todos os outros são co-autores.

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.

Digital Demons deals with themes of religion, shamanism and spirituality. These are some traces of media matter that surfaced during the two year masters program The Art of Impact at Stockholm University of the Arts. Among them are videographic essays, video sketches and a recorded performance that all have worked as research tools for finding an aesthetic language and narration structure that can be used in documentary and hybrid filmmaking.