Research Catalogue

Cartilla que presenta buenas prácticas sobre danza inclusiva y accesible. Realizada por ConCuerpos Parte del Proyecto Danza para la Diversidad 2023. Apoyado por la Beca para el reconocimiento y la activación del patrimonio cultural de Sectores Sociales del Instituto Distrital de Patrimonio Cultural

In the softness of the belly… There is a war on women is a testimony to the lived stories of abortion from a perspective which transcends time and national borders. This research paper is structured around two intertwined trajectories with varying text formats and writing styles. This structure merges the personal with the political and explores their relationship as it reveals how they can’t be separated in a society with deeply rooted structures of patriarchy and misogyny. The first trajectory chronologically tells the story of the author's own experience with abortion integrated with the personal stories from friends and family members. The process of dealing with abortion is gradually laid out starting from childhood memories, proceeding into the practical turmoil and the contradicting emotions surrounding the experience itself, moving onto the mental and physical aftermaths, and lastly processing the experience and slowly healing. In the second trajectory the topic is explored from a more external perspective rooted in history, politics, culture, and society. Through research on the history of reproductive rights and procreation, the permeating role of patriarchy from the past to the presence is addressed. The investigation of patriarchy dives into the misogynist history of witch-hunts, hysteria, capitalism, domestic labor, and into the present where reproductive rights are both improving but also continuously being tightened or removed. This trajectory further explores several socio-cultural aspects of abortion through research-based text and more sporadic and poetic writings. The topics that are addressed are shame, guilt, religion, gender roles, depiction both visually and written, the public discussion, and the perception of blood, violence, and war in relation to women and reproductive rights. The aim of the research paper is to break down and reveal the patriarchal structures which compromise women's reproductive rights, and to state the importance of reclaiming the personal narratives as well as the autonomy over one's own body, narrative, and life.

reposition Journal of reflective Positions in Art & Research - support project for research documentation at the University of Applied Arts Vienna Initiated by Alexander Damianisch, reposition brings together the wide variety of research at the University of Applied Arts Vienna, and reflects on an ongoing culture of editorial structures for research in Arts and Sciences. reposition collects positions from ongoing processes. It offers researchers of all disciplines and departments at the University of Applied Arts Vienna the opportunity to publish their work according to peer-review principles. Colleagues of any level and doctoral students in arts and sciences are invited to share their work. This series showcases their diverse approaches to project-oriented research work and presents current insights, captivating research processes, and ongoing projects from a deeply personal perspective that courageously unearth the work-in-progress.

In this lecture I reflect on recent artistic work relating to perception, technology and bodily awareness. The lecture was part of the Digital Narratives Network Conference held at UiB in 2019. The Digital Narrative Network Conference and Exhibition was a cross-faculty initiative at UiB/KMD with a keynote by N. Katherine Hayles on literature and AI, a series of presentations by scholars, artists and authors, and an exhibition of digital narratives, including a sample of my "Twilight Apparatus" sculpture-series. In my sculpture-work I have taken eyesight and optical phenomena as a starting point for mechanical installations that engage the senses and serve as metaphorical depictions of the relationship between human and technical cognition. My presentation will track the development of recent projects and the role of imaginative awareness.

This research project explores South African Art Music through collaborative practice and the classical saxophone. It begins by investigating the discourse surrounding South African Art Music through testimony collected from various conversations with South African composers, musicians and academics such as Dr Kevin Volans, Dr Antoni Schonken, Professor Hendrik Hofmeyr, Dr Cara Stacey and Arthur Feder. I began collecting the scores of South African saxophone compositions which led to the development of an online catalogue system to document these works -The South African Saxophone Catalogue. This catalogue forms the base - as well as the network - for how this research was developed. To further investigate the South African repertoire, I embarked on creative journeys with four South African composers through performer-composer collaboration. I decided to use this means of investigation as the relationship formed between myself and these composers shows a different level of engagement with this music, first-hand experience in the creation of this music as well as creating an open space for discourse. These collaborations were documented through reflections, audio and video recordings and are investigated in the form of case studies. The final artistic product was a concert featuring these new compositions in Cape Town, South Africa. The data collected was organised through an amalgamation of critical reflection and thematic analysis. Through this collective music-making, I discovered the variety in thought surrounding South African Art Music and paradoxically those who vigorously deny this term. I discovered the complexity both politically and socially that the term South African Art Music implies. In conjunction with my personal reflections, this exposition explores the ideas, opinions and art of individuals in various fields in the South African classical music scene who represent a variety of South African cultural backgrounds and generations.

The video is part of artistic research that explores a dialogue between human, non-human, and forces of the land in Utsjoki, Finland. In this artistic research, walking is used as a method to connect with the environment. During the walks, small amounts of soil – sand, stones, and clay – is gathered and processed further in a studio. Some soil is transformed to slips and used when painting hand-built vases made from the gathered clay. The fired vases are placed temporarily in local rivers. The result is a series of three vase experiments done in a dialogue between human, soil, water, and the forces of the land. The video presents the third vase experiment, where the vase is built from the local clay. The motifs of the painting are the nationally endangered animals: arctic fox, fell owl and glacial salmon. In the River Teno catchment, small juvenile salmon often spend some of their first years of life in tiny tributaries, which they enter from their birth place, the spawning areas in the main stem of the river. One of these nursery streams being Geassemahjohka. The vase is positioned in Geassemahjohka, which is running to the main stem of the River Teno some 70 km upstream from the estuary. Via the experiment we speculate: can act of crafting vase be conceived as act of caring, the vase being thus a symbolic shelter for the salmon?