Research Catalogue

By researching crematoria and graveyards I try to break the taboo surrounding grief and death. What are the elements of design at these places that could provide comfort? What are the stereotypes about death culture that prevents us from fully accepting what happens to us when we die?

Artist, actress and writer Nina Goedegebure conducts artistic research into the polyphony of a disease process at the Master Crossover Creativity @HKU, with two transdisciplinary projects; Fertility and 'Will You Carry Me?!' Starting from the question: How are we carried within a disease process? she investigates the effect of art during a disease process, and/or treatment. She is driven by the idea that in destruction lies creation. 'Through Research Catalogue I want to provide an open insight into this artistic process including my sources of inspiration, questions and finds.'

RESIDENCIAL DA BOAVISTA II No centro da cidade do Porto, pendurado na Avenida da Boavista e junto à barulhenta VCI, está um lugar onde quase nada acontece, o Foco. No Bairro Habitacional do Foco, neste bairro modernista, o tempo parece estar suspenso. Prédios podem ser construídos à sua volta, plenas mutações citadinas e o bairro ainda manteria a sua estética e ambiente. O bairro é como um corpo refastelado, com a sua cabeça pousada na avenida da Boavista e os pés sobre a VCI, sempre em contradição à movimentação e ruído constate da cidade envolvente. Os vizinhos encontram-se na entrada dos blocos, a senhora do 1.º esquerdo limpa a varanda, o porteiro vigia, solitário, o majestoso átrio. Entretanto, na urbe surgem, diariamente, novos movimentos, os metros descarregam milhares de pessoas, os citadinos saem à rua desenfreados na motivação de vivenciar um novo dia. Numa primeira fase, desenvolvemos este estudo da cidade e a sua relação com o bairro residencial colocando em foco os seus cidadãos e como os diferentes espaços são vivenciados, refletindo os seus movimentos. A cidade tece uma manta de retalhos. É na Boavista onde estes se juntam prolongando-se da cidade ao mar. Artefactos de várias épocas são unidos por uma linha invisível. O Bairro Habitacional do Foco, este bairro modernista, marca o meio desta Avenida, mudando o ambiente. A avenida comercial torna-se habitacional. O ruído torna-se em calma. A confusão citadina abre espaço a uma tranquilidade aparentemente suburbana. Numa segunda fase, uma nova promenade, com enfoque nesta relação recém-descoberta. Habitando o espaço do Bairro, entendemos que este é contaminado por figuras geométricas em contraponto à natureza.

This exposition aims to provide insights into my artistic practice and research 'Tipping Points', working within the field of live electronics and focusing on the exploration of tipping points in chaotic processes. The activities associated with my practice are profoundly interdisciplinary and include designing and buildinginstruments, composing artistic works for these instruments, and performing with them. Each of these aspects are interlaced and equally important in the development of new artistic works. The preface details my process in the production of new artistic works. Then the text details my thoughts on the term comprovisation and how it informs my approaches to the development of my work. Then the focus shifts to describe how my use of chaotic processes turns instruments into actant technologies which has important consequences on both my performance practice and instrument design. These insights are then illustrated through reflections on my work Multiple Minds, concluding that the instrument itself is actively composing, while at the same time, the act of designing and building an instrument can be viewed as composing.

The exposition is an artistic PhD thesis and contains research outputs in three categories, Performance Archive, Research Publications and Method Development tied together by an essay. I.Essay: Testimony of a Pilgrim. II.Performance Archive: No Show - exposition. Island - exposition. Strings - exposition. Pleased to Meet You - exposition. III.Research Publications: Porous and Embracing Dramaturgy for Transformative Encounters - video article. A Quest for Existential Sustainability - video article. Transformative Encounters - podcast series. IV.Method Development: ME-THOD. How-little-is-enough-approach. Abstract At the core of this artistic doctoral thesis are four performance projects designed to counter the consumer-driven nature of contemporary performance-making while also addressing the need to develop sustainable methods of performance. Guided by the question: how to construct sustainable methods of performance for transformative encounters? the inquiry transcends the different layers of performance-making to explore the potential of performance as a catalyst for societal change. As a part of the Agenda 2030 Graduate School, an interdisciplinary research initiative at Lund University, the project focuses on existential sustainability and investigates how performance can enhance participants' sense of meaning and motivation for adopting sustainable lifestyles and increasing sustainable awareness. The thesis output is presented in three categories; a performance archive documenting, detailing and analysing the performances and their impact; research publications, disseminating findings and key concepts through different public formats; and method development accounting for the methodological approaches that have emerged through the process. The four performance works of this artistic research are: No Show (2020), Island (2020), Strings (2022), and Pleased to Meet You (2022/2023). The three publications of the project are: How Little is Enough? Embracing and Porous Dramaturgies for Transformative Encounters, a video article; How Little is Enough? A Quest for Existential Sustainability, a video article; and the podcast series Transformative Encounters. Utilizing Me-thod, a pluralistic situated methodology grounded in the artist´s personal background and skillset, together with the how-little-is-enough approach, which minimizes production and focuses on essential needs, the project has collected insights into how performative encounters can initiate transformation in participants and foster connections to the world around them, thereby enhancing existential sustainability and nurturing care for the environment. Through repeated cycles of action-based artistic research, employing qualitative materials and autoethnographical approaches, rich data was generated. The findings emphasize the importance of personal engagement, embodiment, and authentic exchange as catalysts for transformation within performative encounters. Through this investigation, the thesis aims to contribute to the development of sustainable approaches to performance-making that facilitate profound and meaningful human experiences in an era marked by unprecedented societal and environmental challenges. ISBN:978-91-8104-107-1

The aim of this research is to elaborate on the most effective collaborative strategies for seamlessly integrating instrumental music and theatre into family performances. To create context and background, this research addresses the anticipated role and dynamic evolution of instrumental music in theatre. The theoretical framework consists out of the ‘issue of narrativity’ (Meelberg, 2008c) which focusses on frame of reference influence, according to Robert Zatorre (2005), combined with insight from the models of collaboration: ‘het Kompas’ (Bremekamp et al., 2010), ‘the five dysfunctions of a team’ (Lencioni, 2002) and the ‘forming–storming–norming–performing model of group development’ (Tuckman, 1965). This research examines the methods of organizations such as Oorkaan and Het Houten, mapping the established frameworks for instrumental music and theatre. Throughout these theories the complex reality of collaborations within the characteristics of family performances (i.e. a linear progression with a cyclical feel) is systematically described and analyzed, resulting in a new conceptual model. The model was tested by conducting semi-structured interviews combined with field research. Findings were that the sharper the definition of the target group, the clearer the cooperation and the more distinctive the product. This outcome becomes a realistic goal when the direction and associated process is clear. Furthermore, the framework can be used as a tool for those wishing to enter the field of interdisciplinary collaboration between theatre and music, with a focus on family performances. It is relevant for graduates in order to achieve a successful collaboration. They need to overcome challenges at the start of their career due to lack of knowledge of each other’s discipline.