Research Catalogue

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design as an art installation. Looted, 2024. My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April 2024 from Woolwich. They moved in two or three under aged, who I have never met and were pretending to be my daughters. They must have been removing them one by one over the last few months and until October 2024. 14 Barnsbury Road was deemed illegal through the courts, on 22 April, shortly after I was forced to leave in March. The maintenance employed many Polish citizens, all dressed in black with black caps, like all XRW supporters dress. Twenty-one (20+1) digital photographs for twenty (20) missing Albanian and of Albanian ethnicity non-EU immigrants and one (1) missing Italian citizen. The twenty-one persons whose details got stolen were abducted by Golden Dawn, the NRM and possibly Forza Nuova; they are deceased. My personal details were also stolen. Was I going yo be the twenty-second? https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) Investigatory research with artworks. The artworld has been traditionally male dominated. This has changed a little bit in contemporary art, but not dramatically. Female artists have sometimes adopted male attitudes or personas to break into the art scene; notably, Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, for instance that there is no art for women or so-called feminine art. Good art transcends such categories, tapping into more universal experiences. For Chris, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. To all those who don't just "play" the cultural and racial diversity clause. See exposition in connection with "The (Origins of) The Game".

The wind tunnel of Transdisciplinarity Research Focus at the Zurich University of the Arts, ZHdK, in Switzerland runs artistic experiments since 2013. Video footage from 2018 onwards is logged here according to different cameras used. For more information see: http://www.zhdk.ch/en/fspt http://blog.zhdk.ch/windkanal http://windtunnelbulletin.zhdk.ch http://modulus.zhdk.ch https://www.researchcatalogue.net/view/56777/56778

Silence surrounds us, silence around us – on creativity in communication, which interacts with and addresses the theoretical and practical exploring of the artistic research for Green x (2022 –). Simultaneously, it might be possible to create an artistic method of intervention artistically, which aims at the theoretical level evolutionally. Is language the tool? If it is yes, what kind of tool is the language? Through the language, what can we produce and provide? Thereby, I address the topic of creativity in communication in reading silently, speech, and listening. On creativity in communication is a play to draw models. Thereby the leitmotif is "reading". Critical seeing in a model on reading subjectivity and objectivity at the online artistic representational level, Question for on creativity The research objective(s) is a future idea for physical space and its mobility within virtual space (potentiality) for a new type of idea for notation between tradition and modernity. In this aspect, towards international communication gaps between tradition and modernity, DADA solved the issue of communication and explored a new way of communication, that was not a philosophical metaphor, but rather that consisted of semiotics and semantics in the context of design, was creative. – New visual and auditory codes. Thereby I deal with “Tractatus logico-philosophicus”, that is a logic of nonsense by Wittgenstein in the theme of space, body and time. "Silence surrounds us, silence around us" is an artistic research series, after "N.N-Zwischenliegend", I have been started to explore in 2020, after the corona-pandemic.

Imagining Liberation is an artistic research project with the aim of investigating methods in speculative nonfiction. This project begins with a question: What kind of cinematic images can arise from imagining a liberated Palestine? Dalia AlKury’s interest in staging simulated pasts in her earlier documentaries and then staging speculations of futures during her PhD research stems from a deep frustration with the lack of art imagining a world that she hopes is possible. Both practices—staging in documentary and speculative fiction—are rooted in posing the question “What if?,” to offer another possible world or narrative. Her work combines these approaches in the realization of her own method in speculative multitemporal nonfiction. Dalia AlKury approaches documentary filmmaking not as a way of documenting reality, but as a way of constructing an alternative one. Her final artistic results are informed by a long legacy of politically poetic Palestinian aesthetics and by grievances over the historical and present day witnessing of the violent ethnic cleansing of her people. By committing to framing her vignettes in a fictional liberated Palestine, an emancipatory art making process starts to take shape. The process excavates an often-oppressed critical rage and pushes it up to the surface through different narrative tools. Imagining Liberation traces the filmmaker's confrontational journey while experimenting with staging, subverting, futuring, abstracting, and decolonizing to reach a type of catharsis in the face of a continuously fragmented diasporic existence. By staging her own return to a liberated Palestine in different modes from writing to filming, Dalia AlKury runs into ethical dilemmas questioning her self-censorship, representation of “others” and the elusive role of cinematic catharsis. This book encompasses her critical reflection on the short films , narrative experiments and video diaries created throughout her research. The three main audio-visual works that will be shared and analyzed are Congratulations on Your Return, Levitations, and What if a Tree, What if a Crow?

The artistic development project Radical Interpretations investigates two iconic works for solo percussion and re-composes these. The goal of the project was to develop new creative and transdisciplinary research in interpretation of musical works. Participants: percussionist Kjell Tore Innervik, Norwegian Academy of Music (NMH), composer Ivar Frounberg, NMH, designer Maziar Raein, Oslo National Academy of the Arts, experience designer Ståle Stenslie, The Oslo School of Architecture and Design, and music recording producer Morten Lindberg. During the 3 years project, the team engaged with the music of Morton Feldman and Iannis Xenakis. The solo percussion pieces The King of Denmark and Psappha were the point of departure. The cd [UTOPIAS ](http://www.2l.no/pages/album/141.html)(2L) contains the pure audio version of the pieces in high definition and immersive sound.-><- On this site you will find other interpretations and iterations of the music made by the team.

The work presents selected parts of a women's academy in the form of a short film, which was originally performed once at the Viennese court in 1697. The video is the result of an interpretative approach based on the acting techniques of the period when this academy was created. The music harmonises with the movement, which, in turn, follows the affect of the text. The filmed scene was rehearsed by students, graduates and teachers of the Department of Early Music at the University of Music and Arts of the City of Vienna (MUK) as part of the course “Period Acting Techniques“ under the direction of Margit Legler. This work contributes to the visualisation and imaginability of this historical event, where five authors and singers presented speeches, poems and music they had composed themselves on a specific research question. In addition to the score of the selected parts, this publication includes a historical report on the creation of the academy, summarising the findings of a dissertation on music history dedicated to this event (Pumhösl 2014). It concludes with a personal reflection on how the performance of today's interpreters changes when they employ period acting techniques in speeches, recitatives and arias.