Research Catalogue

The group acts as an open and inclusive formation for artist-researchers who share an interest and practice in working with sound. The group is committed to the indispensable action of encouraging and supporting personas of all diversity to participate and join in the collective exploration in and through sound, sensing and amplifying the heard, unheard as well as the overheard. As a collective the group welcomes contributors who are willing and eager to share their idea and practices, think collectively and are interested in shaping a emancipatory sonic futurism.

This study examines the relationship between the narratives in audio-visual artwork and the temporality of historical preservation within sociocultural contexts of destruction and re-construction, and rusting, through the concept of Sankofa. The series of photographic artworks titled “Patches of Time” delves into the socio-cultural fabric of memory, historical sites, forest, and the contemporary reconstruction of the past. Together with the written content, I show various forms of media such as photos, sound files and videos that reveal different aspects of the audio-visual practice. The photos and sound compositions are discussed here as ways of doing and making, exposing the experiences that hold aesthetic qualities and a sense of the sublime. The materiality of the photos and soundscapes mirrors an archaeological process, where remnants of the past are not only recovered but also recontextualized within contemporary sociocultural frameworks. Specifically, I investigate the integration of destruction and re-construction which aligns with Walter Benjamin’s notion that reproduction destabilizes traditional narratives, offering opportunities for reimagining history, and reshapes the aura of cultural artifacts. The destruction and re-construction of these photos impacts the narrative gestures of going back and starting anew (Sankofa). The study aims to observe the interconnectedness of art, memory and the mind as historical sites and explore the potential for re-imaging the nature of audio-photographic art.

Dit is een onderzoek naar 'het kunstzinnige' in het (professioneel) leven van alumni die, tijdens hun opleiding tot pedagogisch coach, werden ondergedompeld in een bad vol kunst en cultuur, vanuit de overtuiging dat dit hen zou verrijken in hun werk, in hun leven en hopelijk, misschien, in beide.

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A Museum of Breath: Designing Spaces for Attention, Not Spectacle proposes an alternative architectural and curatorial ethic for contemporary museums in an era increasingly governed by speed, spectacle, and attention economies. Departing from the dominant model of the museum as a site of circulation, visual consumption, and algorithmic visibility, the essay advances the concept of the Museum of Breath—an institution designed not to display objects efficiently, but to protect and cultivate human attention as an ethical resource. Drawing on architectural phenomenology, aesthetic philosophy, and sacred spatial traditions, the essay argues that attention is not merely perceptual but moral: to attend fully is to suspend ego, resist extraction, and honor presence. Museums, once spaces of reverence and contemplation, have gradually adopted architectures optimized for movement, accumulation, and self-documentation. This shift, the essay contends, is not accidental but infrastructural, embedded in circulation patterns, lighting regimes, material choices, and curatorial metrics that privilege velocity over duration. The Museum of Breath is proposed as a counter-model. Its design principles emphasize subtraction, stillness, and respiratory rhythm. Architecture is treated as a living system—one that expands and contracts, modulates light and air, and guides the visitor’s pace through compression and release. Influenced by the work of architects such as Tadao Ando, Peter Zumthor, and Louis Kahn, as well as artists including Agnes Martin, Marina Abramović, and Eija-Liisa Ahtila, the essay situates breathing as both a physiological and aesthetic organizing principle. Curation within this framework becomes an ethics of restraint. The curator is reimagined as a custodian of attention rather than a manager of content, responsible for creating conditions of duration, silence, and perceptual humility. The essay further critiques the market logic that renders spectacle measurable and stillness invisible, proposing alternative evaluative values grounded in slowness, absence, and unrecordable experience. Rather than offering a finalized architectural blueprint, A Museum of Breath presents a speculative yet rigorous proposal for rethinking museum design, curatorial practice, and institutional purpose. It invites architects, curators, and theorists to reconsider the museum not as a theatre of objects, but as a sanctuary for presence—one that restores the human pulse in spaces increasingly designed to exhaust it. This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and _Art as Truth: A Treatise_ (Q136329071), _Aesthetic Recursion Theory_ (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946) Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen.

Title: Solidifying the Ephemeral: The Alchemy of the Liquid Canvas Artist-Researcher: Giuseppe Rametta Giusirames 1. Professional Biography Giuseppe Rametta Giusirames is an Italian artist and material researcher whose practice lies at the intersection of contemporary art and chemical experimentation. Rejecting standardized industrial media, he develops proprietary material mixes, treating the creation of the "base" as an integral part of the creative act. His most significant breakthrough is a specialized technique designed to "solidify the sea," transforming the fluid and ephemeral nature of marine environments into a permanent, solid canvas. Through his work, he explores themes of environmental memory, the alchemy of matter, and the tension between natural flux and artistic preservation. His studio is a continuous laboratory where traditional aesthetic values meet innovative material engineering. 2. Research Statement This research focuses on the chemical and poetic transformation of natural and volatile elements. The core of the project is the stabilization of fluid environments through a unique technical process. Material Hybridization: Sea, Smoke, and Antisepsis My investigation extends beyond seawater to the stabilization of other volatile and antiseptic substances: * Seawater: Capturing the essence of the ocean to create a structural canvas. * Amuchina (Chlorine-based solutions): Integrating antiseptic elements to explore the tension between hygiene, sterilization, and nature. * Smoke: Attempting to fix the weightlessness of air and fire into a solid surface. By inventing these material compounds, I investigate how artistic practice can "fix" a moment of environmental flux without losing its vital energy. 3. The Poetics of Painting on the Sea For me, painting is not a gesture performed on a surface, but a dialogue with an element. To "paint on the sea" means to accept the fluid’s rebellion before fixing it into eternity. It is a poetic act of translation: capturing the rhythm of waves, the transparency of the water, and the ghost-like presence of smoke within the physical constraints of a canvas. This practice transforms the artwork into a relic of a moment that was, by nature, impossible to grasp. 4. Visual Documentation Per le tre foto che mi hai inviato, usa queste descrizioni: * Figure 1 - Organic Textures: A demonstration of how the proprietary mix creates an organic "skin," allowing pigments to settle in a cellular structure. * Figure 2 - Marine Diffusion: The interaction between color and the solidified sea base, mimicking the natural movement of underwater currents. * Figure 3 - The Molecular Membrane: A macro view of the stabilized material. This transparent, alveolate structure proves the successful transition from liquid/volatile states to a solid artistic medium.