Research Catalogue

“Além dos Muros” é fruto de uma criação artística colaborativa em contínuo, onde três artistas fundem poesia e música histórica com improvisação contemporânea. Inspirado em sonetos de Sor Juana Inés de la Cruz e composições de Hildegard von Bingen, será apresentado em ambiente intimista e espaços de património cultural e religioso. Uma proposta interdisciplinar que celebra a expressão livre, a reflexão e o legado de mulheres que foram além dos muros conventuais, abrindo horizontes do saber.

In the Anthropocene, human activity is the driving force of environmental changes, such as climate change and biodiversity loss. This exposition combines visual arts and social sciences to explore what roles science can play in navigating these changes in the Westfjords, a peninsula in the Northwest of Iceland. It presents five objects to tell place-based stories about science and to identify its potential contributions to resilient and thriving human-environment relations.

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Les forces religieuses, politiques, culturelles et économiques influencent le monde moderne. Il s’agit de conflits et d’antagonies bien réels, idéologiquement chargés, qui déchirent le monde dans un contexte de formes virulentes de polarisation idéologique, de nationalisme de droite et de fondamentalisme religieux.

As part of the 'Borderline Physical' PHD Project and the "Spirits in Complexity" PEEK Project, this iteration investigates the auditory landscape of a specific fridge in a specific café in Vienna, Austria. The fridge is captured into a physically informed model, recreating its surprisingly complex sound emissions. This model is presented as an installation on-site, next to the fridge whose current working status is unknown (it was broken recently). At the SAR the model is treated as a musical instrument and freely used in complete disregard of physical constraints, leading up to a musical performance that explores a different form of artistic exploration of our sonic environment.

The theoretical wisdom of the Epic theater derives from the conceptual perspective of Bertolt Brecht toward communication and performing arts in "Der Rundfunk als Kommunikationsapparat" (1932). Brecht's version of the radio reminds the participatory politics in the internet, which he later theorizes for theatre-qua-critique of the aristotelian drama of binding the spectator to the fiction ideologically, in the vicious cycles of pre- learned codes, the traditional and phony wisdoms of clans and classes, where the mere potential for change is to turn into a "petit bourgeois".