Research Catalogue

Through an artistic research process, I examine the ethical issues that arise in transcultural music composition, a context familiar to the students of the Global Music department at the Sibelius Academy of the University of the Arts Helsinki. Through reflexive autoethnography and musical analysis of the composition used for my Bachelor concert, I look at the questions of cultural appropriation vs. appreciation, and imitation vs. plagiarism. In the discussion I use a reflexive and investigative process for navigating these questions, and in the conclusion I expose my reflections and ideas on how to tackle this elusive yet important subject.

Audience reactions such as “Oh, doom is coming” reveal the emotional weight of eco-anxiety and highlight the need for approaches that go beyond fear. During the first year of understanding eco-anxiety, I explored how eco-anxiety manifests in daily life and how it shapes collective processes within a developing neighbourhood. I also explored how integrating qualitative audience research with artistic research can deepen our understanding of eco-anxiety and contribute to the development of artistic coding as a method. The artistic interventions: 1. The Birds, 2. Bring Back the Birds, 3. Omgaan met Water, 4. Stay Safe in the Media Atmospheres, 5. Artist Residency Oba Next Sluisbuurt, 6. Kunstenaarskennis and 7. Participatiewensen, combined with conceptual reflections of them, demonstrated that understanding eco-anxiety involves questioning, prompting and exploring the affect and emotions that emerge in relation to eco-anxiety.

ARTikulationen 2023 is an artistic research event conceived and organised by the Doctoral School for Artistic Research (KWDS) of the University of Music and Performing Arts Graz (KUG). It takes place at Theater im Palais, Graz, 04–07 October 2023. ARTikulationen interweaves in-depth presentations of very recent artistic research and findings, a festival character, and a mini-symposium – this year on matters of interdisciplinarity and interconnectedness of research practices with the (sound) environment, nature, and other living beings („Researching Across“).

This exposition brings together the epistemologies of art-making and translation. It presents a series of artworks the curators commissioned for a travelling exhibition on ‘Experiential Translation’ (2022-2025). Many of the works were created under the auspices of the Experiential Translation Network, which facilitates collaboration and exchange between translators, writers, poets, artists and scholars from across the globe. The concept of ‘experiential translation’ as elaborated by Campbell and Vidal (2019, 2024, 2025), highlights embodied, multimodal communication as a performative inquiry into meaning-making. Blending art and translation practices, experiential translation values materiality, participation, and co-creation. Rather than mere transfer of meaning, translation is seen as a process of discovery, research, and knowledge production, embracing the unknown and exploring that which escapes language. Encouraging a rhizomatic viewing experience, the exposition is structured into three interconnected thematic 'rooms', Serial Metamorphosis, (Un)repetition and Ludic Translation, which can be visited in any order, or even simultaneously. The exposition includes video art, performance, (interactive) installation, sound art, poetry, painting and photography. This work was supported by the AHRC under Grant AH/V008234/1, awarded to Ricarda Vidal (PI) and Madeleine Campbell (Co-I) . Ethical Clearance Reference Number (King’s College London): MRA-22/23-34543

I explain "microtones" as the sounds between the piano keys, making it universally understandable. This widespread understanding through "piano keys" demonstrates how the 12-tone equal temperament (12-TET) has become standardized as the dominant system. When 12-TET was introduced, it created a hierarchy where diverse sounds were forced into a rigid system. Other sounds were marginalized and coded into one of the twelve tones, physically embedded in the piano's keyboard. As a result, pianists became subordinate to these physically embedded conditions of the piano. In this project, I attempted to dismantle this organizational principle. By deterritorializing these fixed tones and liberating the peripheral sounds now called "microtones," I explored not just the piano's timbral possibilities, but also the interactions that emerge in these spaces - between sounds, between people, between cultures... Through collaborations with over 30 composers, I discovered that microtones exist in the "ma" (space) between standardized tones, representing voices that don't fit into established systems. What began as an exploration of piano timbre evolved into an investigation of humanity itself, generating new meanings through ongoing dialogues and discoveries.

This article is emulating fictional informal notes that the author would have taken during his research. The handwritten annotations of Marinus de Jong (1891-1984), and his artistic and pedagogical legacy, have formed an interesting case study within the Flemish Archive for Annotated Music (FAAM) at the Royal Conservatoire of Antwerp. The “making of” the documentary Imaginary Conversation with Marinus de Jong, recorded together with pianist Anna Alvizou, is presented in a playfully manner.