Research Catalogue

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.

This exhibition documents the process of filming excerpted passages from Christopher Marlowe's The Tragicall History of Dr. Faustus as a series of monologues and tableaux. The resulting film, Scene's from the Tragicall History of D. Faustus, is here uploaded in its entirety, accompanied by supplementary materials related to its creation.

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).

Author: Dorian Vale Affiliation: Museum of One — Registered Archive and Independent Research Institute for Contemporary Aesthetics Museum of One|Written at the Threshold Abstract This essay argues that Post-Interpretive Criticism (PIC), through its diagnostic indices, represents the completion of a philosophical project initiated by Edmund Husserl and refined through Mikel Dufrenne’s phenomenology of aesthetic experience. Where Husserl sought to unite mathematical rigor with phenomenological inquiry but lacked a suitable domain, and where Dufrenne applied phenomenology to aesthetics but remained purely descriptive, PIC operationalizes their insights through measurable linguistic behavior. The framework’s five indices, Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI), structuralize Dufrenne’s distinction between the work of art and the aesthetic object, while providing the mathematical formalization Husserl believed necessary for philosophy as rigorous science. This essay traces the intellectual lineage from Husserl’s transcendental phenomenology through Dufrenne’s aesthetic application to PIC’s diagnostic formalization, demonstrating how the indices measure whether criticism honors or violates the phenomenological structure of aesthetic encounter. Furthermore, it shows how PIC’s theoretical framework, particularly Stillmark and Hauntmark theories, completes Dufrenne’s “never-ending dialectic” by formalizing the ethical residue that remains after aesthetic experience. This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946) Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN.

This exposition presents a practice-based research investigation into pattern formation using ASCII and Unicode character systems as primary visual material. Working exclusively within live text environments, the project explores how complex visual and architectural structures emerge from rule-based constraints, repetition, and minimal computational resources. Treating text not as language but as material, the work examines generative logic, duration, and modularity as foundations for sustainable, post-material visual research.

Amazing Patterns presents a practice-based investigation into pattern formation using ASCII and Unicode character systems as generative material. Developed within the broader research context of the ASCII Digital Design Museum (ADDM), founded in 2010, the project operates exclusively in live digital text environments under minimal computational constraints. Treating text not as language but as material, the exposition examines how repetition, variation, and rule-based operations generate complex visual structures from simple symbolic elements. Through sustained, character-by-character construction, the works demonstrate scalability and structural coherence across graphic, textile, and architectural references. Developed through human-authored, rule-based visual systems prior to contemporary AI image-generation tools, the project positions symbolic computing as a methodological precedent and sustainable exhibition model, emphasizing accessibility, durability, and long-term cultural preservation within web-native systems.