Research Catalogue

Development of Curatorial Guidelines for the Transart Residency Exhibition at London's Borough Road Gallery in July 2025. The Anthologies Assembly, London 2025, extends a call for proposals for a vibrant, student-guided convergence of research inquiry and creative exploration. Building upon the inaugural assembly, participants are encouraged to embrace "research-based creative practice" as a means of knowledge generation where diverse disciplines intersect and boundaries blur. We welcome proposals that illuminate PhD research, including nascent "works-in-progress," emphasizing the value of ongoing inquiry. Guided by student feedback expressing both a desire for grounding in practice and community as well as exceptional moments that inspire, we aim to create spaces for genuine encounters and shared learning, where participants leave with lasting impressions on research and creative endeavors that continue to spark curiosity throughout the year. Our curatorial framework centers on the concept of investigation, as both a rigorous pursuit and an introspective exploration. Drawing from its etymological roots, we conceive of investigation as a tracing towards something no longer present—a turning-towards truths hidden or lost in time; and a nuanced examination of practices, be they social, political, or personal.

New creation - Sign Language and Dance - Video Projection and dance

I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work, which I presented with my artistic pseudonym, Betty Nigianni. Much of Janine Antoni's art is about the female body and cultural identity. I address the participants by the first names they used to introduce themselves at the workshop. The questions were given in writing to each participant by the rest of the group, to offer material for thinking further their artistic practice in their own time. I include the answers I would give now, if I was asked the same questions. Artists, architects and designers give interviews about their work. Amongst them, architects tend to write more and publish more written work in relation to their practice.

Table of contents JSS issues

Editorial: Sounding the Contradictions in and of the (Post-)Soviet Realm

In the early years of the Soviet era, the music of two Russian faith traditions was forced into the shadows. Siberian shamans preserved chants and folk knowledge despite intense persecution, and Russian Orthodox monks preserved early forms of plainchant in remote monasteries away from the watchful eye of the government. Sofia Gubaidulina (b. 1931), herself a member of the richly-historied and often-marginalized Tatar people, became a practicing Russian Orthodox Christian in the 1960s. During the 1970s, she began performing improvisations with her ensemble Astraea, familiarizing herself with many instruments used by Siberian shamans. Her references to shamanism continued to increase among her concert-hall compositions over the following decades. As a new generation began to embrace the freedom to part from state-sponsored atheism during the 1990s and 2000s, shamanic chanting and Russian Orthodox Znamenny chant experienced a renaissance of practice and scholarly interest. Gubaidulina responded with her music: in her 2005 flute concerto …The Deceitful Face of Hope and of Despair, Gubaidulina’s flute soloist takes on the role of chanter. Drawing on Tia DeNora’s research in the sociology of concerto forms, Kofi Agawu’s framework of musical “topics,” and the composer’s own reflections on the concerto metaphor, this article analyzes how Gubaidulina frames the solo flutist as Siberian shaman and Russian Orthodox cantor within subsequent episodes of this concerto. In this way, the soloist “speaks” through the music of these faith traditions that remained underground for much of Gubaidulina’s adult life. …The Deceitful Face of Hope and of Despair is a flute concerto deserving of its title, demonstrating the dynamic potential of works by post-Soviet composers to contend with the sociological tensions that affect any individual whose cultural, ethnic, or spiritual identity has been the target of discriminatory policies.