Research Catalogue

A performance “Corpo Híbrido. Ato de vestir e despir o efémero” (2025), procura refletir sobre conexões simbioticas entre seres. Com o vestir-se de germinados, veste-se o efémero, e o corpo funde-se com o elemento vegetal, uma transformação num ser híbrido, habitante da fronteira entre dois mundos. O corpo transforma-se em paisagem, enquanto a paisagem o acolhe.

Case study of Drugo More in relation towards the practice of Fatos Ustek and Bek Berger

This research introduces Psychoformism, an innovative artistic style synthesizing form, emotion, and subconscious energy into a unified aesthetic expression. Positioned within the broader discourse of art history, Psychoformism proposes a fluid, dynamic visual language that transcends traditional bodily representation. The style aims to shift the viewer's role from passive observer to active participant by visually embodying internal emotional states as forms that emerge from subconscious energies. Psychoformism thus provides a conceptual and practical framework for exploring deeper psychological engagement and subjective perception within aesthetic experiences. As proposed by the author, “Form is emotion itself; emotion emerges from within the body and transforms directly into visual form.” (A. Babak, 2025)

Andy Birtwistle’s introduction to this special issue addresses the question "what is sonic materiality?" by examining how both "new" and "old" materialisms offer productive frameworks for conceptualizing sound's material dimensions. Drawing on work by Cox, Voegelin, and Cobussen, alongside critiques from Goh, Thompson, and Campbell, the article proposes understanding sound's materiality through texture, temporal flow, and spatiality. By engaging with Structural/Materialist film theory and creative sonic practices, Birtwistle discusses how materiality intersects with aesthetics, agency, and ethics in sound. The introduction argues that exploring sonic materiality opens new avenues for understanding sound across environmental soundscapes, artistic practices, and cultural contexts.

Is the reality perceived by someone with dementia less real than our own? Can photography give authority to this alternate reality? This research, sparked by my newfound relationship with my dementia-affected grandfather Raymond, investigates the family album - often perceived as an unquestionable document - in order to uncover its ambiguities and to question photography in itself as the most trustful record of reality. The inaccuracy of a medium that aims for objectiveness and is perceived as the bearer of truth, leads me to focus on three different ways of approaching the family archive (collection, editing and manipulation) and the relationship between mortality and memory. By using a mix of photography and photogrammetry, Ray's distorted memories - as he recounted them during his illness - became new images in order to materialise his present parallel truth. Alongside this dreamlike everyday, what has survived of Ray's past is contained in a briefcase: 254 photographs that have been transformed into postcards, travelling keepsakes, ready to be sent. If photography is in itself unreliable, why should the reality of a person who has lost his memory be any less real than our own?

This project aims to explore the ability of playing by ear in order to design a creative and stimulating teaching approach for the development of the skill in piano lessons. The goal is to devise effective strategies for piano instructors, offering guidance on how to effectively advance the abilities of their students. Consistent with Woody’s ideas, playing by ear has been described by educators as a relevant developmental prerequisite to becoming a truly fluent music reader. Nevertheless, making sounds by ear is often just the initial and playful approach to music, and its significance diminishes considerably in education as the skill level increases. In fact, one must not forget the crucial role of the skill, that is the direct connection between music and player (without any interference like the score).