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. I use 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') - August, September, and October 2024. For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego"), 'Moussa', 'Gaetan', 'Mohammed' ('Onzedouze'), 'Hermando', and 'Nesseem' - December 2024, January 2025, May, June, August and September 2025. Four men of colour and seven white men - or, more accurately, four and six, or six and four. 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'.

Keywords: access, censorship, document, knowledge, language, navigation... For a few weeks, a group of peoples gathered and had for agenda to approach "research" in education(s) and in the context of Art as part of Societies. Investigating/reading/questioning traces (signs, clues, memories, facts, datas) and shadows of knowledge systems, circulations, and accesses - including active translations and reflections on perceptions - they discussed the status of "document" and values of knowledge in relations to the modalities of their publications and presences within the context of a library. The group decided to focus on analogue research methodologies. Extracted? Outdated ? Archived ? Censored ?

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.

The digital revolution is boosting innovations across our contemporary social life and culture with a strong impact in performing arts studies, creation and fruition. By exploiting augmented and virtual technologies and their cutting-edge applications, contemporary researchers, performers, composers and artists are spurred to renovate their traditional practices and creations, and overcome the boundaries of real stages towards virtual stages and extended reality (XR), where the physical encounters the digital. The possibility to be projected in the blended scenario of the extended reality (XR) and metaverse determines the avant-garde perspective of imagining music performance in hybrid stages where performers and audiences are involved in immersive and intriguing phygital experiences. This exposition wants to present and discuss what the investigation on augmented and virtual reality in artistic research in music entails, and how and why to create a XR music performance in the metaverse. The focus will be on my personal artistic research experience in the creation of a phygital piano performance "MetaPhase: A contrapuntal dialogue between a pianist and her avatar in the metaverse". Download Accessible PDF

SKVR:n kantelerunot alueittain koottuina ja vanhakantaiseen kanteleperinteeseen linkitettyinä. The SKVR collection (1908–1948, 1997) comprises 34 editions and 89,247 texts of oral Kalevala metre lyrics collected from Karelians, Ingrians, and Finns and published by the Finnish Literature Society. This exhibition features texts from the collection relating to the mythical origins and music of the kantele. The front page provides an overview of the regional characteristics, and the tabs offer texts from each region. The exhibition is in Finnish.

The histories, stories, and names of Chinese railroad workers who dedicated their lives to constructing the U.S. Transcontinental Railroad have remained in the shadows for over a century. Completed in 1869, the railroad was a monumental achievement in America’s ‘Manifest Destiny’ during the nineteenth century. But despite their contributions, the Chinese laborers have not received the recognition they deserve. This project seeks to remember Chinese railroad workers via arts-based research methods (ABR). Archives are not merely repositories of the past but also products of political power. In this light, the project poses a key methodological question: How can art-making critically reconfigure the power of archives and lost history? We seek to ask questions, initiate a dialogue, acknowledge the absence, and give form to the invisible. Building upon the historical recovery work of previous scholars, we reconstruct fragmented pieces through remixed artworks. The current article highlights key artworks that demonstrate the scope and variety of a much larger project (Yu 2025b). We dedicate this work to the Chinese master railroad builders––to the great-grandfathers––whose stories and names demand remembrance.