Research Catalogue

The background introduction is about three character bassists in Japan. It analyzes and studies the three famous Japanese performers from different perspectives such as artistic style, characteristics, learning experience, and playing style.

Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material. The exposition exposes the question of what is artistic research. Usurping the essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system. Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued.

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 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 performance rather than being part of a performance? 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” collaborates with the Angewandte Performance Laboratory, and will present its research outcomes in a public series of participatory events. In the course of the project, various participatory performance formats will be exchanged within the Angewandte e.g. at the Center for Didactics of Art and Interdisciplinary Education, as well as in external art institutions. Collaborating expert practitioners and dialogue partners are: Philipp Ehmann (AT), Nikolaus Gansterer (AT), Mariella Greil (AT), Margarete Jahrmann (AT), Dennis Johnson (US/AT), Anne Juren (FR/AT), Krõõt Juurak (EE/AT), Imani Rameses (US/AT), Christian Schröder (AT), Lucie Strecker (DE/AT).

Over the past few years, fires are everywhere. The summer of 2023, the biggest wildfire recorded in Europe torched large swaths of Northern Greece; fire destroyed ecosystems and devastated local communities. This research paper is divided into two parts; the first part is based on fieldwork conducted in the fire-altered landscape in Evros, after spending time in Kirki village, hearing the stories of locals, having conversations with experts, and documenting my experiences living in the post-disaster land. It is a travelogue to a ground considered “ruined”, in a village slowly disappearing. The second part zooms in on Kirki’s cemetery, approaching it as the sole spiritual place for post-disaster relief in an effort to understand its importance for the community as well as the opportunities that arise in this burial ground. My travel was approached with a commitment to flexibility and was shaped by serendipity. In this multilayered condition of Northern Greece, it is an effort to consider the question of what’s left in the post-fire land of Kirki and what emerges in its damaged cemetery.

at the end of the sentence, it rotted gathers written words and photos exploring how language is not purely about communication, but a medium of revealing hierarchy of bodies, as we assign and circulate signs to bodies - none of which are neutral. Moving between auto-theoretical poetry and essays on 104 pages, I write with an I using language to explore language itself from within; appropriating how words are never innocent, when the languages we speak are the ones with political value.

Thesis / Research Document of the Royal Academy of Art, The Hague, 2023. Bachelor Interactive Media Design In this paper I aim to reveal the influence of echo chambers and the use of echo chambers as a potential tool used as a defense mechanism by the emergent artificial intelligence. We also look at the impact of such defense against our social construct and the availability of genuine human interaction in a world that is mostly digitally connected then physically . We investigate in this thesis some contemporary ideas about our current situation and or potential solution to pop up the bubble of i-reality, a term I used to refer to when thinking about customized reality bubble surrounding every digitally active person. My research journey starts with reminding us why we do this research, what is the urgency, and then delving into historical facts and researching contemporary or historical views, analyzing the algorithmic world of social networking and the surprising results of digital isolation in tiny echo-chambers. Thus , my research led to several conclusions of how we might be able to pop up the i-reality bubble and change the grim potential outcome of a world dominated by synthetic life to a world in which we human can cohabitate with a potential self aware synthetic life .