Research Catalogue

My position is that knowledge about an artist and their work can be uncovered through close looking at their work and that some of this knowledge can be held and transferred tacitly to viewers (that are also artists). This knowledge can be articulated through practice, in this case in the making and subsequent close looking and reflection of the Selfish Portrait paintings. Because the knowledge is tacit, as opposed to propositional, the knowledge may be sensed, felt or difficult to articulate in words. Practice is the most appropriate vehicle to test whether this knowledge can shift from what Alexis Shotwell’s has articulated as ‘nonpropositional knowledge’ to ‘potentially propositional knowledge’. In Selfish Portraits I search for self-portraits by a range of dead artists in terms of geography, gender, race, ‘status’, time of working, style, etc. This necessitates (re)searching beyond my current knowledge base using gallery visits, internet searches and books. The selected self portrait(s) are subjected to a period of ‘looking attentively’ in order to visual interrelate and learn about the painting, and by extension the artist. The main focus is allowing the self portraits to ‘talk to me’ following the theoretical stance of the ‘active’ painting or picture, that knowledge is held in the painting itself and cannot always be found in (written) documentation.

Focaris parte de la conexión entre el fuego y el hogar como espacios de encuentro, protección y transformación. La obra se desarrolla a través de un diálogo entre la expresión individual y el encuentro colectivo, representado por la reunión en torno a una mesa o una hoguera. Cada bailarín expresa su "fuego interno" en solos apoyados por el grupo, generando conexiones y contrastes a través de la coreografía. La narrativa de la obra está construida bajo la estructura del teatro griego, donde el coro acompaña, enfatiza y dialoga con las acciones individuales. La accesibilidad está integrada en la dramaturgia, transformando la LSC, la audiodescripción y los elementos visuales en recursos estéticos.

The first edition of the Professional Doctorate (PD) Day took place on Tuesday 18 November at the Social Impact Factory in Utrecht. This event brought together PD candidates and their networks from all seven domains of the Professional Doctorate pilot to exchange ideas, explore crossovers, and strengthen interdisciplinary collaboration. The theme of this first PD Day, '𝘙𝘦𝘪𝘮𝘢𝘨𝘪𝘯𝘪𝘯𝘨 𝘜𝘳𝘣𝘢𝘯 𝘍𝘶𝘵𝘶𝘳𝘦𝘴 - 𝘐𝘯𝘵𝘦𝘳𝘷𝘦𝘯𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘗𝘳𝘢𝘤𝘵𝘪𝘤𝘦-𝘣𝘢𝘴𝘦𝘥 𝘙𝘦𝘴𝘦𝘢𝘳𝘤𝘩 𝘧𝘰𝘳 𝘓𝘪𝘷𝘦𝘢𝘣𝘭𝘦 𝘊𝘪𝘵𝘪𝘦𝘴,' focused on the future of urban life. This theme is grounded in the United Nations 𝘚𝘶𝘴𝘵𝘢𝘪𝘯𝘢𝘣𝘭𝘦 𝘋𝘦𝘷𝘦𝘭𝘰𝘱𝘮𝘦𝘯𝘵 𝘎𝘰𝘢𝘭 11: 𝘚𝘶𝘴𝘵𝘢𝘪𝘯𝘢𝘣𝘭𝘦 𝘊𝘪𝘵𝘪𝘦𝘴 𝘢𝘯𝘥 𝘊𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘪𝘦𝘴 and during the PD day, the theme is structured around five subthemes. Within these subthemes, we reflected on how we can shape cities that are inclusive, safe, resilient, and ecologically sustainable.

'Latency Records: The Delay, an Inhabitable Field' analyses a fictional mediated environment by studying the lapses of time involved in its diffusion. Approaching media as a source for new habits of perception over a landscape, it is concerned with the electronic tools used for the representation of nature; in particular those applied for near-real-time broadcast from sensory meteorological tools, webcams or satellites. Introduced with seven images from audiovisual references, punctuated by fourteen quotes from various sources and interwoven to three poems written exclusively for the essay, 'Latency Records: The Delay, an Inhabitable Field' is inspired by humans’ incomprehension of the artificial structures in which they blindly place their hopes for representing the unrepresentable: a living image of the exterior world. In doing so, it delves into humans’ attempts to portray themselves in order to comprehend who they are. Therefore, 'Latency Records: The Delay, an Inhabitable Field' interrogates the instantaneity of these naturalistic archives, ultimately shaping our cognitive engagement with our environment—which acts both as a mirror and a departure from it.

Water covers more than 70% of the earth’s surface, and thus constitutes a major section of the ecosystem on Earth. It is a vital element on earth, all life (as we know it) depends on water to be able to thrive. The climate has always changed a bit, but in recent years, due to greenhouse gases, the climate has experienced extreme changes which have also strongly impacted the global water cycle. From melting glaciers to ocean acidifications, flash floods, and prolonged droughts, disruptions in ecosystems now happens faster than most species can adapt to. Because of global warming, the atmosphere can hold and transport more moisture. Water doesn’t have the opportunity to fully infiltrate the soil. This accelerates the hydrological cycle. While it is still important to decelerate this process as much as we can, it is also important to look into strategies of adaptation and think ahead to a future with water that will be compromised. In this book, we explore water futures through the speculative design approach. This design practice aims to challenge preconceptions, raise questions, and provoke debates. It opened the doors for designers to imagine and explore possible water futures globally. We start with the water spring in India where the Ganga river starts, then travel further down the river stream. We end up in the Netherlands where different rivers connect to the sea. We continue where the river meets the sea and travel to the salterns in France and Croatia. Here water changes form, turning into gas and flowing through the air as evaporating steam in the geothermal region of Iceland. Eventually this book will end up with the condensation of the fog net in the Namib Desert.

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