Research Catalogue

Nine research groups from HKU, Hanze University of Applied Sciences, Fontys, and Utrecht University of Applied Sciences are joining forces with UvH and UMCU to bring a new perspective on healthcare through the arts, supported by the SIA-SPRONG grant. Using a transdisciplinary approach, this research group and its partners are developing new methods, practices, and scenarios within healthcare and well-being contexts—not for, but with each other.

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This video essay explores the sacred landscapes of Delphi and Delos, studying their historical significance as a centres of female knowledge, through embodied, intuitive, and affective engagement. Thinking about Ada Lovelace’s notion of poetical science, the site visits seek to trace the contextual and geographical roots of this concept. The film approaches knowledge as a sensuous, relational and embodied process, one that resists dominant rationalist and technocentric paradigms. The voiceover, recorded in Greece, threads reflections from Hélène Cixous’s The Laugh of the Medusa (1976), Karen Barad’s Diffracting Diffraction (2014), and Sasha Biro’s The Oracle as Intermediary (2022) from Otherwise Than Binary, New Feminist Readings in Ancient Philosophy and Culture Decker, J.E., Layne, D.A. and Vilhauer, M. (2022). Through these situated readings, the film proposes curating research and thinking through place as not merely interpretive but performative: an intra-active practice between self, site, and matter. The work explores myth and reverie, positioning the body in context as instrument. It proposes an expanded curatorial methodology rooted in presence, sensual attention, and poetic science - where intuition is included, and the landscape is approached as co-creator.

Esta pesquisa propõe uma instalação com foco em aprofundar uma experiência sensorial, para despertar a sensibilidade das pessoas, em São Bernardo/MA, no Balneário Rio Buriti. São abordados elementos da escuta sensível e consciente, como forma de valorização dos sons naturais e culturais do local. Para a execução da prática, realizamos algumas etapas, como: determinar local, dia e o horário da atividade; elaboração de um mapa mental contendo todas as ideias; retomada da leitura do mapa mental com novas impressões individuais, pessoais, subjetivas, objetivas; decidir sobre a ação em si. Nos desdobramentos desta ação, que envolve escutar, sentir e criar, observamos que a paisagem sonora, termo criado por Schafer (2009), possui todos os componentes para a criação e sensibilização das pessoas em relação aos seus próprios territórios. O autor demonstra sua preocupação com a qualidade da escuta, que está cada vez mais ameaçada pelo problema da poluição sonora, por isso a necessidade de que a população tenha consciência dos sons que nos rodeiam.

"Grain: Mediator Between East and West" is an image-led, cross-temporal exploration of bread wheat as both a commodity and a metaphor. Drawing on its historical and practical ubiquity as a staple grain in agrarian (Eastern) Europe, wheat emerges as the focal medium through which cultural and geopolitical narratives are revealed. What narratives does bread wheat carry, and what is entangled within localised perspectives? To what extent does the cultural history of grain intersect with modern grain infrastructures, whereby wheat transforms from an elemental medium into a mediator between East and West? Through thinking with and about grain, this work interrogates the gaps, overlaps and resonances between East and West, the post-war Soviet 1940s and the present day, repositioning wheat as a cultural mediator. This Master's project was conducted within the European Media Studies program at the University of Potsdam and University of Applied Sciences Potsdam, August 2025.

”Vi använder ord för att nå varandra och för att förstå oss själva och världen. Orden är alltid kroppsligt förankrade och sammanbundna med tanken och viljan”, förklarade gumman. ”Men vad har det med mitt gestaltande att göra?” suckade skådespelaren. ”Allt”, svarade gumman och log. ”När människokunskap länkas till skådespelarkonsten blir den både konkret och magisk. Du förstår, kroppsliga kunskaper om språkhantering är mycket viktiga att ha med sig i det gestaltande ögonblicket. Det räcker inte att analysera den dramatiska texten eller att göra medvetna val. Det finns något i oss som är större, något som vi ska vara rädda om.” ”Vad ska jag vara rädd om?” ”Du ska vara rädd om dig själv. Om ditt konstnärskap. Om din röst”, svarade gumman utan att tveka. Vad är det som sker i övergången från skriftlig till muntlig gestaltning? Orden som i det vardagliga samtalet flödar fram i förbindelse med avsikten och känslan, förlorar under högläsning både sin självklarhet och spänst. Istället för att finna övningar som skyler över det som går förlorat, tycks det mig mer intressant och verksamt att försöka förstå vad som sker. Och hur det kroppsligt intuitiva skulle kunna tas tillvara. Min forskning har utmynnat i en saga. Sagan om skådespelaren som återfann sin röst. Om konsten att gestalta med röst och tal.