Research Catalogue

This is my research portfolio on Bill Evans and his influence on jazz.

A visual map of the RC. Hover over a screenshot to see the title and author. If you click you will see a gallery with a screenshot of each of its weaves. There is a form which allows you to filter based on title, author, keywords, abstract and date. Keywords work in an additive way: so if you search for two keywords, you will get results that has either (or both). For an exposition to appear in this map, it needs to be public (share -> public or published). The map is updated once every 24 hours. There is an alternative map that allows you to browse all research by keyword.

Performance philosophy is still something of a ‘wild frontier’ where fundamental questions can be re-posed concerning the nature of wisdom and love, life and truth. For if love and wisdom are not co-extensive with verbal communication, then philosophy may be legitimately pursued by performative means. In this session the participants aim is to enact and unfold a set of trajectories rather than describe or 'define' their work in words alone. Passion and grief are disruptive currencies. Passion and grief not only seem un-necessary for biological life, they frequently threaten it. Yet a life lived without them would seem impoverished. Whether one views these turbulent affects as parasites, invaders, or as the engines of higher culture, they inhabit philosophy as an ineradicable black-market haunts all states and empires. We aim to consider this under-zone on its own terms, weaving theory with demonstrations of transferable techniques for cross-disciplinary research.

Digital Demons deals with themes of religion, shamanism and spirituality. These are some traces of media matter that surfaced during the two year masters program The Art of Impact at Stockholm University of the Arts. Among them are videographic essays, video sketches and a recorded performance that all have worked as research tools for finding an aesthetic language and narration structure that can be used in documentary and hybrid filmmaking.

Although I love attending traditional classical music concerts, I have long felt that they missed certain aspects that would make them more relatable to the inner world of the audience. In this research exposition, I argue that this missing aspect is a social element and I guide the reader through a possible application of social themes to a classical music concert. On a formal level, I use the techniques of psychodrama – a form of group therapy – as a tool from which I borrow some fundamental concepts, along with the conception of characters, to understand how social themes can be addressed in a context in which multiple people connect to the same object. In this case, the object of common interest is the representation on stage. On a substantial level, I draw upon material I collected in my interviews with Clara Scarafia to study a social theme she has been directly involved with: suicide. The two levels are brought together in my pilot session, where I experiment through a sample of the complete performance I am designing and an audience questionnaire how psychodrama and the interview interact and influence one another. The goal is to show that the classical repertoire, with its complex emotional kaleidoscope and non-verbal language, can easily bear a social theme and enhance the collective reflection of relevant themes in our times.

GAMPSISS was a comprehensive, 4-year collaborative, transdisciplinary project executed by Erasmus University (EUR), University for Techonolgy Delft (TUD), Willem de Kooning Art Academy Rotterdam, and the conservatoire of Rotterdam: Codarts. 
In Year 1 we each conducted research in our own discipline, namely: on listening (Codarts), on persuasive games (TUD) and aligned these with the cultural sociological perspective (EUR) on concert audiences and concert experience. In Year 2, based on the knowledge gained, we jointly built a prototype of a game called 'Listening Space'. A game for the smartphone, to be played prior to a (classical music) concert to train listening skills, through awareness and playful practice of different listening modes. In Year 3, again with the entire team, we designed an interdisciplinary gamified performance called “Listening Mutant 2021” during which the audience worked through a wide range of listening games and training. This time the games were not only about music listening but also about social listening (listening to other people). The performance was played for a specially recruited diverse audience, and included orchestral music, theatrical scenes, audience participation, a quiz, a debate, a (new) smartphone game, an audio (headphones) story, all integrated into a total experience with a festival atmosphere. Due to COVID-19, it was not produced (in a modified version) until Year 4, and for a smaller audience than we originally envisioned. Year 4 we then finished analyzing, writing and reflecting. 'Listening Space' produced modest positive effects, and 'Listening Mutant' a major positive effect. At the Willem de Kooning Academy in Years 2 and 3, we set up a GAMPSISS course in which all researchers taught. Students were asked to design listening games. Some of these served as inspiration for the games in “Listening Mutant 2021. Two sub-studies were also conducted under the accolade of GAMPSISS, namely a study on what happens when people listen to a piece of music repeatedly (listening diaries, EUR, yet to be published) and a combination of empirical research and extensive desk research (Codarts) on listening from a predominantly philosophical perspective, resulting in a paper titled 'A concise theory of listening' that can be used in conservatories and music practices. The PHD candidate also conducted several more studies on other persuasive games (yet to be published).