Research Catalogue

This exposition contains a database of materials resulting from the artistic research "Phytopoetic Creation: An artistic and ecological intervention", within my doctorate studies in Performance at the Department of Comunication and Art (DeCA) of University of Aveiro (UA), Portugal. As these results were mostly documented through video, audio and photographs, I decided to use this platform as a medium to share these moments that were central to this artistic research, also containing a published article. The form of relationship established between these materials, with mutual connection and sharing of information and resources, was similar to a network that was developed throughout this research, through practical experience and application. This network, here refered as "Plant Wide Web", contributed crucially to the creation of the final artistic product of this research, "Intertwined Paths: an embodied journey of connection with plants" (2024).

This exposition forms part of the research project exploring the often-overlooked sensory and material facets of photographic production, challenging the traditional focus solely on the visual aspect of photographs. The research questions the prevailing view that understanding photography is limited to analysing the final image, suggesting instead that the process of making a photograph—its production in real-world environments such as laboratories, factories, and manufacturing spaces—holds equal aesthetic significance. The aim is twofold: to redirect attention to processes of photographic making, exploring the aesthetic dimension beyond the photograph itself, and to examine how this shift influences the overall understanding of photographic practice. Employing practice-based research across diverse photographic settings, this study uncovers the aesthetic nuances of C-type printing processes, including the tensioning, fogging, and tearing of photosensitive paper. It adopts an event-centric viewpoint, moving beyond the visual to explore multisensory handlings—listening, touching, and feeling—that are integral to photographic production, and acknowledges the contributions of more-than-human agency in photographic making. This approach allows for a multi-modal presentation of findings, combining traditional written analysis with experiential expositions to highlight the importance of non-visual outputs in photographic making.

Egna låtar All musik spelas av OH.

In his contribution "Post-Digital Angst – The Direct Experience", Mong-Sum Joseph Leung (Center Research Focus, PhD candidate PhD in Art) explores anxiety in the post-digital age, examining it as a basic anthropological condition in relation to concepts such as hollowness, nullity, and the unknown. Leung intertwines personal experiences from daily life with his artistic practice and ontological reflections on the human condition, working with Heidegger’s notions of Sorge and Angst, to reflect on affective experiences in a digitalized world.

Gabriela Krist (Institute of Conservation) and Marie-Christine Pachler (Institute of Conservation) provide solutions for challenges in seemingly obvious everyday situations in their contribution "Sustainable Behavior with Cultural Heritage: Study on Visitor Awareness". This text provides insights and findings from a study of awareness-raising measures conducted at Schönbrunn palace. This site is particularly popular with tourists and must deal with the wear and damage of displayed objects. As conservators, the authors draw attention to the damage that visitors can cause, and examine different educational measures to improve awareness among tourists and staff members.

Leo Hosp (Center Research Focus) widens our perspective through her contribution "I Can See Queerly Now. Queer Perspectives On Project Work", which is a reflection on queer working practices. Hosp intertwines her own experiences of queerness with insights from collaborative project work within the Action for Sustainable Future (ASF) hub. Hosp’s contribution refrains from defining queer research. Instead, it explores different aspects and approaches to deal with an inherently fluid term to propose a queer project work manifesto. Presented as a momentary insight into Hosp’s research, it is not to be understood as a finalized outcome but an open invitation.