Research Catalogue

Silence surrounds us, silence around us – on creativity in communication, which interacts with and addresses the theoretical and practical exploring of the artistic research for Green x (2022 –). Simultaneously, it might be possible to create an artistic method of intervention artistically, which aims at the theoretical level evolutionally. Is language the tool? If it is yes, what kind of tool is the language? Through the language, what can we produce and provide? Thereby, I address the topic of creativity in communication in reading silently, speech, and listening. On creativity in communication is a play to draw models. Thereby the leitmotif is "reading". Critical seeing in a model on reading subjectivity and objectivity at the online artistic representational level, Question for on creativity The research objective(s) is a future idea for physical space and its mobility within virtual space (potentiality) for a new type of idea for notation between tradition and modernity. In this aspect, towards international communication gaps between tradition and modernity, DADA solved the issue of communication and explored a new way of communication, that was not a philosophical metaphor, but rather that consisted of semiotics and semantics in the context of design, was creative. – New visual and auditory codes. Thereby I deal with “Tractatus logico-philosophicus”, that is a logic of nonsense by Wittgenstein in the theme of space, body and time. "Silence surrounds us, silence around us" is an artistic research series, after "N.N-Zwischenliegend", I have been started to explore in 2020, after the corona-pandemic.

Sculpted and painted wood, combined with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures, 2020. Digital drawings, 2021, 2023. Dutch steel sailing boat part-restoration and renovation, Amsterdam (with Sean A. Hladkyj), 2019-20. Relief and improvised sculptures made with industrial paints, as well as found objects, were exposed to weather conditions, including heavy rain and wind, over a few months on a floating timber raft. Working with the changes the weather was causing to the ad hoc studio, I made changes until the painting was finished, photographed, then dumped. The relief was collected. I applied the colours from those available in a symbolic manner, abstracting the view of a ghetto in a large city. The objects stand for the landmarks. The pieces would comprise of the scenography for a theatre performance, informed by my conversations with a theatre lighting technician. The event would also include a donation event of the art objects. See external link for the theatre play, based on the tradition of the philosophical dialogue and employing the idea of performing philosophy to make it accessible to a wider audience. Political asylum has been traditionally offered to people who flee from their countries of origin and citizenship, because of violations of their dignity, which is a human right, for their political beliefs and related activities. Currently, seven human rights of mine, five basic, have been infringed in the United Kingdom, where I have been a citizen since 2011; the origin is my native Greece. Political asylum is only offered to people, who are non-citizens of the country where asylum is sought from. At the same time, political asylum has become harder to offer, due to the global nature of persecution of whoever is perceived as a dissident. Since 2013, Forza Nuova, the Italian affiliate of the Greek Golden Dawn, has participated in the organised international criminal case, of which I have been the target, originating from my native Greece, "accelerating" in the Netherlands and the UK in 2020, Covid-19. This happened with the theft of my personal details, specifically my Greek driver's license number, by Italians, in Amsterdam in the winter of 2020. My number was used for three fake Italian driver's licenses for criminal activity in the UK. Notably, Roberto Fiore, Forza Nuova's leader, inherited briefly Alessandra Mussolini's post in the EU parliament. Nevertheless, the Italian government settled in the summer of 2024 one remaining fake Italian passport for a fictitious Albanian citizen, probably in connection with Forza Nuova, after mediation with the Albanian government. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique; a suggestion for alternative, autonomous and communitarian lifestyles; and a performative metaphor for global refugees. At the time, in autumn 2019, I had attended an environmental protest in Amsterdam that was generally peaceful. Investigatory research with artworks, some of it carried out in Amsterdam, the Netherlands, where I was a philosophy student, from 2017 until late 2019, and remained until autumn 2020. I did not have student insurance, as it was obligatory, because I was covered by the NHS through EHIC (European Community coverage, when the UK was still in the EU), since the UK was still in the EU. I didn't have travel insurance either. Presentation of work in progress. See exposition in connection with "The (Origins of) The Game".

Joining the Forces - Methodologies of Sustainable Transcultural Artistic Research Johannes Kretz (University of Music and Performing Arts Vienna) Today, many traditional musical practices are threatened with imminent extinction for various reasons, such as the loss of (indigenous) languages, or the pressure coming from an imbalance of power vis-à-vis a more or less globalized music industry. Even contemporary academic composition can be counted among the endangered traditions, even if it is still somehow "artificially kept alive" to varying degrees in different countries. Therefore, the idea of joining the forces of creativity could be meaningful, to support the solidarity between (artistic) minorities in the widest sense, to gain importance in a world of strongly commercialized cultural life, and to redefine aesthetic and social categories. Since 2007 through various projects and initiatives new formats of transcultural artistic research have been developed at mdw – University of Music and Performing Arts Vienna by Johannes Kretz, Wei-Ya Lin and Hande Sağlam. The collaboration between members of the indigenous community of the Tao on Lanyu island, Taiwan and composers, musicians and ethnomusicologists from Austria within the project “creative (mis)understandings” developed new transcultural approaches of inspiration (seen as mutually appreciated intentional and reciprocal artistic influence based on solidarity). “Confusing Inspiration” is a teaching format, confronting students of composition and improvising instrumentalists with places, communities and music practices outside of their comfort zone to widen the perspective of their artistic and intellectual concepts and to establish forms of understanding and collaboration. The underlying concepts of both projects aim to encourage communities to engage in unexpected alliances. Beyond that – with regard to sustainability – one has to ask, whether some impulses of this collaborations will continue and propagate in the respective communities. And: can these concepts of transcultural artistic research be extended to a making-with and becoming- with (in the sense of Donna Haraway), which can include – in a similarly mindful and respectful reciprocal way – not only humans from – very – different communities, but also non-humans? In times where climate change and environmental destruction are obvious threats to everybody on this planet, can (local) knowledge holders of indigenous and non-indigenous communities together with artists and researchers contribute sustainable approaches by questioning the demarcation between culture and nature?

This paper delves into how representation affects men’s entitlement to First-person shooters (FPS). Starting with a quick look at the history of computing and representation, I‘ll explore how FPS games have been marketed to men over time. I‘ll also research how e-sports and streaming contribute to shaping the image of a „hardcore“ gamer. Using Gamergate in 2014 and 2015 as a case study, we‘ll see how the „hardcore“ white male gaming community reacts when it feels like it is being attacked. The gaming industry has been targeting their games towards men for a long time, creating a space where they feel they can do whatever they want. Video games, for them, are a realm of endless possibilities. So, when it seems like someone is trying to impose on their (perceived) freedom (as seen in Gamergate), they‘re ready to fight back.

Thesis of the Royal Art Academy, The Hague, 2024 BA Fine Arts In the landscape of modern society, alienation is a common denominator to the experience of individuals. Whether this is due to society’s perpetual acceleration, or the experience of life through the ever-present lens of consumerism, alienation is an unmissable part of the contemporary human experience. This extends to the art world, where the chasm separating an ever-booming global market for the arts, and institutions struggling to get their pre-covid-19 visitor numbers highlight the disparities in the experience of art today. These disparities will ultimately transpire in the experience of the viewer. But how, and why can art be a catalyst for alienation in late-contemporary society? This Graduation Research Paper is an attempt at exploring the relationship between the artwork, the audience, and the artist, so as to attempt and provide a comprehensive notion of the ways in which relationships form around artworks, notably through communication theory. This GRP will also explore examples of elements of influence in the formation of communicative structures between the art and the audience. Notably, this paper will discuss the myth of the artist, and its influence as an authority in the experience of art, as well as the influence of spatial context on the reception of art. The paper will conclude that the artist possesses limited agency in the reception of their artworks, and that in order to provide an honest experience to a contemporary audience, the artist must seek to understand and deconstruct the codes which surround the audience's consumption of art.

This paper investigates the development of the production of High Fidelity (Hi-Fi), audios and the emergence of an accompanying audiophile culture in late state socialist Poland of the 1970s. My case study offers a discussion on the re-negotiating of the cultural values of a specifically marketed technology that was used as a status symbol in affluent market economy countries. In state-socialist Poland, a host of social actors appropriated Hi-Fi audios technologies and audiophile culture to be part of a nationwide project of technological and social modernization. I investigate how in this specific historical setting the mass-scale development and the production of Hi-Fi audios emerged, and how this was embedded into the government policy of building “consumer socialism.” This development also corresponded with a state-sponsored program of technological modernization, in which the electronics industry was identified as a flagship sector that received substantial government investment. I also discuss the emergence of a local audiophile culture, which was redefined by intermediary actors, from being a Western elitist “consumption microculture” into an accessible form of cultural uplift for working-class youth.