Research Catalogue

The background introduction is about three character bassists in Japan. It analyzes and studies the three famous Japanese performers from different perspectives such as artistic style, characteristics, learning experience, and playing style.

WITHDRAWING THE PERFORMER WITHDRAWING THE PERFORMER is conceptualized and conducted collaboratively by Charlotta Ruth (SE/AT) and Jasmin Schaitl (AT). The starting point are two artistic practices based on methods of mindfulness and game/play; Performances for the Mind and Choreographic Clues. These two individual perspectives on participation emerge from the project leaders’ ongoing artistic research and merge in their common artistic curiosity in the creation of immaterial material. Accompanied by neuroscientist and performer Imani Rameses (US/AT) the research asks: How does immaterial material perform within participatory situations? What role does participatory setting play and how does participation differ if situations are communicated as a workshop, a treatment, a practice or a performance? How can neuroscience support how immaterial and participatory art practices are developed and described? What relation exists beyond involvement and how can a participant become the performance rather than being part of a performance? What has to occur in the mind and body for this to happen? Through practice and dialogue conducted with experts in the fields of contemplative sciences, sound art, choreography, game art and somatics, the research explores how input from participants (e.g. memory, thought, emotion) can be placed at the centre of a flexible yet framed performance situation. “Withdrawing the Performer” collaborates with the Angewandte Performance Laboratory, and will present its research outcomes in a public series of participatory events. In the course of the project, various participatory performance formats will be exchanged within the Angewandte e.g. at the Center for Didactics of Art and Interdisciplinary Education, as well as in external art institutions. Collaborating expert practitioners and dialogue partners are: Philipp Ehmann (AT), Nikolaus Gansterer (AT), Mariella Greil (AT), Margarete Jahrmann (AT), Dennis Johnson (US/AT), Anne Juren (FR/AT), Krõõt Juurak (EE/AT), Imani Rameses (US/AT), Christian Schröder (AT), Lucie Strecker (DE/AT).

This page welcomes newcomers from Fontys to engage with the Research Catalogue. (For Fontys Master students & Staff only)

Research Document of the Royal Academy of Art, The Hague, 2023. BA Photography. The research paper serves as a base for understanding the memories on a case of a person with dementia and their connections to the medium of photography. Photography is used as an attempt to retrieve my grandmother’s autobiographical memories which are often hard to retrieve. It is based on the assumption that every memory, no matter how vague, is still accessible by restoring to a proper process, similar to the latent image on the photographic film that becomes visible only after appropriate processing. Based on existing experimental memory research I constructed a method of finding a cue that can trigger specific memories in a conversation. Photographic images from the past were used as a base of the conversation. In most cases, they didn’t directly trigger involuntary memory, but they served as a starting point for a conversation, allowing my grandmother to start actively thinking about a period of her life. Due to dementia, the responses within one conversation were often repeated, yet after some time, the chain reaction of retrieving memories allowed her to remember some specific details. Her understanding of the fragility of memories was constantly present. On multiple occasions, she expressed that an artificial device, such as photography or writing, should be used to preserve them. The research doesn’t give a complete understanding of how memories and their retrieval work in general, but it gives a better understanding of how it can efficiently be done with my grandmother. The process I developed can be applied to other people if properly adjusted to them. I believe that essentially what counts is not what kind of cue we choose, but that we patiently take time to listen and guide conversations with some previous knowledge about their past.

Over the past few years, fires are everywhere. The summer of 2023, the biggest wildfire recorded in Europe torched large swaths of Northern Greece; fire destroyed ecosystems and devastated local communities. This research paper is divided into two parts; the first part is based on fieldwork conducted in the fire-altered landscape in Evros, after spending time in Kirki village, hearing the stories of locals, having conversations with experts, and documenting my experiences living in the post-disaster land. It is a travelogue to a ground considered “ruined”, in a village slowly disappearing. The second part zooms in on Kirki’s cemetery, approaching it as the sole spiritual place for post-disaster relief in an effort to understand its importance for the community as well as the opportunities that arise in this burial ground. My travel was approached with a commitment to flexibility and was shaped by serendipity. In this multilayered condition of Northern Greece, it is an effort to consider the question of what’s left in the post-fire land of Kirki and what emerges in its damaged cemetery.

at the end of the sentence, it rotted gathers written words and photos exploring how language is not purely about communication, but a medium of revealing hierarchy of bodies, as we assign and circulate signs to bodies - none of which are neutral. Moving between auto-theoretical poetry and essays on 104 pages, I write with an I using language to explore language itself from within; appropriating how words are never innocent, when the languages we speak are the ones with political value.