Research Catalogue

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

short bio and cv

Deslocamentos trânsatlânticos em ambos sentidos. 8500km de distância. Quatro gerações. Um edifício.

GAMPSISS was a comprehensive, 4-year collaborative, transdisciplinary project executed by Erasmus University (EUR), University for Techonolgy Delft (TUD), Willem de Kooning Art Academy Rotterdam, and the conservatoire of Rotterdam: Codarts. 
In Year 1 we each conducted research in our own discipline, namely: on listening (Codarts), on persuasive games (TUD) and aligned these with the cultural sociological perspective (EUR) on concert audiences and concert experience. In Year 2, based on the knowledge gained, we jointly built a prototype of a game called 'Listening Space'. A game for the smartphone, to be played prior to a (classical music) concert to train listening skills, through awareness and playful practice of different listening modes. In Year 3, again with the entire team, we designed an interdisciplinary gamified performance called “Listening Mutant 2021” during which the audience worked through a wide range of listening games and training. This time the games were not only about music listening but also about social listening (listening to other people). The performance was played for a specially recruited diverse audience, and included orchestral music, theatrical scenes, audience participation, a quiz, a debate, a (new) smartphone game, an audio (headphones) story, all integrated into a total experience with a festival atmosphere. Due to COVID-19, it was not produced (in a modified version) until Year 4, and for a smaller audience than we originally envisioned. Year 4 we then finished analyzing, writing and reflecting. 'Listening Space' produced modest positive effects, and 'Listening Mutant' a major positive effect. At the Willem de Kooning Academy in Years 2 and 3, we set up a GAMPSISS course in which all researchers taught. Students were asked to design listening games. Some of these served as inspiration for the games in “Listening Mutant 2021. Two sub-studies were also conducted under the accolade of GAMPSISS, namely a study on what happens when people listen to a piece of music repeatedly (listening diaries, EUR, yet to be published) and a combination of empirical research and extensive desk research (Codarts) on listening from a predominantly philosophical perspective, resulting in a paper titled 'A concise theory of listening' that can be used in conservatories and music practices. The PHD candidate also conducted several more studies on other persuasive games (yet to be published).

Discovering Afro-Cuban music as a classical musician was an outstanding moment in my career. Realizing how unusual it is for French Horns to be involved in this style inspired me to start this research and further develop my skills. Even though it is usual to find trombones and trumpets in Afro-Cuban music ensembles, it is challenging to find examples with French Horn players. Currently, the most successful horn player in this genre is Sarah Willis, who fell in love with Cuban rhythms and decided to share them by creating innovative albums. The methodology of this research includes a literature review of existing works related to Afro-Cuban music, interviews with experienced players in this field, and practical demonstrations in video form. The theoretical framework provides a brief review of Afro-Cuban music from its origins until today, paying special attention to the practically non-existent presence of French Horn players in this field. The practical framework collects data on the challenges that a classical French Horn player may encounter when playing this music and offers possible solutions. As a result of this study, I now have a better understanding of this style and why the horn is not usually included in it. Also, having the experience of playing Afro-Cuban music as a classical musician has clarified the differences and difficulties of approaching this music but more so how it can nourish my musical practice with new skills. The chosen format of presentation will be a public exposition of the results of the research.

Rasmus Albertsen is interviewed by Rasmus Albertsen about his film stop-motion animated film: "The Holy Mushroom". The text reflects on Albertsens thoughts about his proces: writing the story, creating the characters and the scenography. Furthermore it's about imperfect animation, nostalgia and archetypes.