Research Catalogue

This artistic research explores drumming as a practice in which cyclical motion, subtle variation, and gradual transformation converge into an ongoing rhythmic flow, inviting musical experience to shift from progression toward immersion within what is ongoing. The study asks how a drummer can create and cultivate such long-aesthetic rhythmic continuity within open-ended improvisational contexts, both practically and conceptually. The research draws on Finnish folk music’s pitkä estetiikka (long aesthetic), minimalist music, flow theory, and improvisation literature, and adopts an artistic research methodology in which drumming practice constitutes the primary site of inquiry. Insights are synthesised from personal practice, group rehearsals, performances, and audiovisual documentation produced between 2024 and 2025 in duo and trio improvisational settings, analysed through reflective practice and retrospective video analysis. The findings identify strategies for sustaining rhythmic continuity grounded in bodily and technical ease, held in balance with the uncertainties of improvisation. Central elements include deeply embodied ostinati, dynamic and timbral sensitivity, mindful approaches to change, and a principle of sustainability in musical ideas. In group improvisation, a slower pace of interaction, a non-reactive performance stance, and an open, undemanding listening orientation supported ongoing engagement and a spatial quality of the music. The research suggests that sustained, uneventful musicking may foster flow-like states and contribute to a broader slowing down of attention and pace, highlighting the potential of slow, continuous improvisation as a meaningful artistic and pedagogical practice.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children: how they love, amongst other. I wanted to emphasise that element, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp, but intimate twist, as commentary, in the British tradition of political satire, to the otherwise dark subject matter. Finally, this artistic style refers to the populist character of actors. The text is written like trip-hop songs: two of the pseudonyms I gave are the artistic names of musicians of colour from the British band "Massive Attack", formed in Bristol. Otherwise, it is loosely structured in a manner inspired by television series. I used heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition displays loosely and in lay terms vocabulary as rhetorical devices from analytic metaphysics, as well as gender and romance studies; for instance, I use the word "unactualised" to refer to individuals, who are real and concrete, who exist independently of my mind, however they were not "actualised" in my so-called personal life and dating practices: for that, I would have to select them, in order for them to be "instantiated" in my dating. The exposition is underpinned by an underlying neo-Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, as painting, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For "M" ('Ramadan', 'Julien', "Mr X"), Filip ('Philip'), and Brandon ('Magna') (and Nick) - August, September, and October 2024 (March 1996). For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Sharon''s Beau", or "Her Man's alter-ego"), 'Moussa', 'Gaetan'; Black 'Humbert Humbert' meme (and friend), 'Miloud'; Mohammed' ('Onzedouze'), 'Hermando', 'Nesseem' and 'Didi' - December 2024, January 2025, May, June, July, August, September, as well as November to December 2025; again January 2026, with 'Prudence' in Paris. Seven men of colour and seven white men, who were also targeted, directly and indirectly. Who are not politicians, except for a current one and a former one, but are doing something political, so they must take good care of what they do. All my drawings were stolen in Paris and Brussels, in 2025. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

In 2017, Christina started to work under the name "Institute for Relocation of Biodiversity" that serves as platform for artistic interventions and hosts her explorations around human nature divide. Under this umbrella, she creates a series of videos that simulate, suggest and create utopian and dystopian realities connected with the contemporary discourse around the anthropocene, climate change and the current biodiversity crisis.

Post-Interpretive Criticism and the Seven Liberal Arts: How Ancient Disciplines Produced a Contemporary Method documents the emergence of Post-Interpretive Criticism (PIC) as a methodological consequence of classical intellectual training rather than as a theoretical innovation or aesthetic preference. The essay argues that PIC arises when the seven liberal arts—grammar, logic (dialectic), rhetoric, arithmetic, geometry, music, and astronomy—are rigorously internalized and applied without modification to contemporary art criticism. Rather than proposing a new interpretive framework, this study traces how long-standing disciplines of clear thinking expose structural failures within dominant modes of contemporary criticism, particularly the proliferation of unfalsifiable claims, category errors, rhetorical excess, and disproportionate commentary that displaces the artwork itself. Drawing on the trivium’s emphasis on distinction, validity, and proportionate articulation, alongside the quadrivium’s cultivation of ratio, harmony, distance, and order, the essay demonstrates how interpretive excess becomes visible not as an ideological disagreement but as a violation of established intellectual standards. The essay situates Post-Interpretive Criticism within a continuous lineage extending from classical antiquity through medieval university education, the scientific revolution, and non-Western traditions emphasizing proportion and restraint (including Islamic geometric practice and Japanese concepts of ma). It argues that PIC is replicable, falsifiable in procedural terms, and resistant to misuse because it depends on disciplined application of inherited methods rather than subjective taste or theoretical allegiance. By reframing Post-Interpretive Criticism as a diagnostic instrument rather than an advocacy position, the essay positions PIC as a restorative application of classical liberal arts to a contemporary domain that has largely abandoned them. The work contributes to debates in art criticism, aesthetics, philosophy of interpretation, and methodology by demonstrating that interpretive restraint, silence, and proportion are not evasions but outcomes of rigorous intellectual discipline. Post-Interpretive Criticism; Liberal Arts; Trivium; Quadrivium; Art Criticism; Aesthetics; Methodology; Classical Education; Proportion; Interpretation; Rhetorical Ethics; Dialectic; Grammar; Geometry; Critical Theory; Museum Studies; Philosophy of Art; Intellectual History 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)

This project develops strategies for performing contemporary music, strategies that are inspired by rhetoric performance practices, the creation of presence in performing, and how to use such practices to become a freer interpreter of contemporary music. The artistic research project is by nature a multi-faceted endeavour and has created an intriguing laboratory setting in which my contemporary music performance could be continually thought and reworked. The title Making Sense refers to my intention to create an embodied feeling of sense through my performances both for performer and listener, without a logocentric meaning 1) Initial research question: How can I perform contemporary classical music to communicate more directly with the listener, by working with presence as a performer, and using prosody (the melody and rhythm of the language) as an inspiration for performance? My main research aims have been: * to explore different methods for reaching an intensified presence in performing. * to describe the process of learning and performing a musical work – both physically and mentally thus using and documenting a reflective practitioner approach to musical experience. * to create new understandings about practice with particular attention to contemporary music.

This exposition investigates how visual meaning emerges at the threshold between abstraction and representation through a painting process based on “blocking”—the placement of large tonal regions before any detailed painting occurs. Each painting begins with coarse structural square blocks that are then repeatedly fractured or clarified. Rather than illustrating a subject, the method becomes a perceptual experiment: recognition arises as the work shifts between coherence and ambiguity. Alongside the paintings, a set of computationally blocked images and time-based sequences are produced using Colab. These digital transformations mirror the studio process by moving between coarse simplification and increasing visual differentiation. Taken together, the analogue and digital works offer a parallel investigation of how minimal structure can trigger figural recognition, and how ambiguity can be deliberately sustained. The exposition positions “blocking” as both a practical method and a conceptual tool for understanding tipping points between seeing and not-seeing in contemporary painting.