Research Catalogue

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. 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.

Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

ABSTRACT Girl army – Narrative painting in space In my doctoral research in fine arts, I study narrative painting in space and examine the narratives of spatial painting series and other spatial assemblies of paintings. My paintings’ imagery deals with girlhood, womanhood, and the colour pink. A girl army – a wild and non-vi- olent group of girls – acts as a guide on my journey of exploration. My paintings’ girls take over various spaces. My artistic research includes a written section in which I report how my research proceeds, enabling me to find new ideas through verbal language. The written section deals with my artistic work process and non-ver- bal knowledge, and it describes how the search for words adds to my understanding of narrative, narrators, focal- isation, and immersivity. As artistic work and writing blend into a trajectory, I establish the words alongside non-verbal knowledge, and, in the end, I venture to ob- serve my works’ feminism. My research includes three public exhibitions of works that explore painting narratives, the colour pink, and placing in various spaces. The exhibitions took place dur- ing a period of ten years, as follows: My solo exhibition, Playground – My work is my pleasure, was on display at Galleria Korjaamo in autumn 2009, the painting instal- lation Paradis k (Kidnap) was part of the Eyeballing! ex- hibition at the Museum of Contemporary Art Kiasma in 2012, and my painting series Paradis r (Rascal) was on display in the Vallaton – Rascal group exhibition at the Vantaa Art Museum Artsi during 2017–2018. My research’s main stages are closely related to these three exhibitions included in my research. My research ques- tions follow, along with the works, a painting’s simultane- ous, linear, and temporally stretched narrative. I explore how paintings, in different spaces, turn into stories and immersive experiences, inviting viewers inside of them. I invite the reader into a story in which I wander, wearing a trainer on one foot and a high-heeled shoe on the other. I compare painting with a comfortable trainer and the painting’s analytical observation with a high-heeled shoe. As an artist-researcher, I feel like I am standing near my paintings in contrapposto. My research shows how the heel wears out and the words become familiar little by little. Theorists Mieke Bal and Kai Mikkonen, as well as various other researchers, art- ists, and their works, support my journey. Written lan- guage, too, can be wild and experimental, and it is the very element that turns my works into a form that can be verbally shared. Verbalising my research has revealed that a part of my works’ narrative becomes complete only when I leave my workspace and the works are exposed to views and inter- pretations. During my research, I realised the diversity of interpretations and the extent of factors that have influ- enced my work. The key results of my research include the understanding that an artist’s research process opens to be shared and followed through words. The definitions suggested by words do not invalidate a painting’s liberty to be completely indefinable, but they help to understand the various ways a painting’s narrative works. Katja Tukiainen 8 March 2022

Research Paper of the Royal Academy of Art, The Hague 2024. BA Photography. This research paper began to investigate photographers and visual artists who use their practice as a coping mechanism to deal and understand family dynamics and events connected to it. Drawing inspiration from personal narratives and correspondence with my father, the research navigates through themes such as generational silence, family, and Italian patriarchal culture.Through a reflective process, I believe that artistic practice can become a way to delve into the traumas that affect the family environment. In this way, it is possible to approach places and people we do not know well, such as our parents. This process not only facilitates healing but has also given me the tools to further develop my practice by using knowledge gained from the practice of other photographers and exploring the combination of different methods of writing. The research paper was the starting point of my collaboration with my father as it gave me the possibility to open a conversation with him and discover the untold things that lay between us. In the process of writing, I’ve used the paper as a way to remember the stories of my childhood and take inspiration for my photography. The elements that I’ve touched appon the stories came back later in the process of making allowing me to have a clearest idea of my further steps into the project. To understand this, I looked in someone else’s houses, experiencing the tradition of mourning on the Greek island through the photography of Ioanna Sakellaraki and the tenderness of a mother in understanding her children with the project of Sian Davey. I moved to different places, to different generations, entering the house of Larry Sultan, full of kitschy design and colorful wallpaper that sets the scene for a story of discovery. The driveway of Deanne Dikerman has seen many days and many goodbyes and the loving words and confession of Chantal Akerman who could not give more for her mother. I discovered the work of Tami Aftab in the little post-its stuck in the corners of a house and now part of the outside world. And then between laughter and tears, I entered the complicated house of Richard Billingham, between one glass of wine and another. Each of these artists showed their intimate space, in which we discover stories that do not belong to us but that can guide us to understanding where we are, what we feel, and what we suffer. There is a lot of vulnerability in being behind the camera while a parent is in front. To ask questions and start seeing them as people and not just as parents. To reveal the stories of pain that lie in the past and are hidden by the passing of time. We hide in the home to escape from what frightens us and then we are called to talk about what is hidden. Photography is a way in which we can reshape what has happened, a way in which we can understand the succession of events and build a home that hides nothing. In doing this research I opened up a conversation and brought the house outside. I broke a silence that had lasted too many years and found a passionate father who wanted to discard the past. And so, in staying in silence while you are willing to say things but don’t know where to start there is some tenderness and there is some strength. In unfolding the memories and breaking the silence I know I have found empathy instead of trauma, creating a common ground where climbing trees is a moment of rest somewhere in the past.

This thesis is an attempt to unfold multifaceted discussions in multispecies entanglements, focusing on the fundamental act of feeding—a process that extends beyond mere sustenance to become a critical interaction within the web of life. It interlaces a rich array of perspectives, combining academic research, artistic inquiry, and personal reflections to illuminate the diverse implications of feeding.