Research Catalogue

"New ideas might be conceived and developed more rapidly in disciplines that are more abstract. The inductive methods of experimental innovators in painting makes their enterprise resemble the more empirical disciplines considered by psychologists, while the deductive approach of the conceptual innovators makes theirs resemble the more abstract disciplines." David W. Galenson, "The Life Cycles of Modern Artists", NBER Working Paper Series, 2003. Artists and architects have been at times captivated by visionary ideological viewpoints, which they used as inspiration and to make suggestions for applications with their artworks and designs. My use of the diagram and the image aims to convey the simple message that art strives for evolution; meaning to strengthen the mind, to research capabilities, to communicate a disinterested, though not necessarily apolitical, view of social changes, to overcome banality and offer an alternative way of looking at the world. For many artists, this motivation has traditionally often gone hand in hand with political goals and motivations. The decline of the commercial art market in the 1980s gave rise to artists working mainly, but not solely, with ephemeral installations, including the ubiquitous video art, performance, and the broader range of conceptual art. Painting remained as an established fine art practice, with a renewed interest to conceptualism. YBA (Young British Artists) was a seminal artistic group in Britain of the 1990s, who challenged conventional modes of that period of making and exhibiting art. They had their first group exhibition in 1988. The portrait is of the artist, myself, at a young age, dated 1993, when I was a student at the NTUA. Betty Nigianni is my name known as (aka), which I also used as my artistic pseudonym.

Work-in-progress for the development of a sensorial piece, first explored during the workshop Augmented Attention Lab.

An analitical overview over some key works from Stravinsky with the goal of selecting few elements that can help my compositional journey.

Fractured Curation: On the Cost of Discontinuity Author: Dorian Vale In Fractured Curation, Dorian Vale exposes the silent violence of discontinuity in institutional exhibition-making. Drawing from the principles of Post-Interpretive Criticism, this essay critiques not the art on display, but the fragmented and careless curatorial strategies that sever meaning, rupture context, and erode ethical witness. Focusing on spatial logic, visual sequencing, and the absence of coherent narrative threading, Vale reveals how curation can either dignify or disfigure the viewing experience. When works that bear trauma, memory, or moral weight are mishandled—isolated from their context or stitched into spectacle—the institution itself becomes a site of erasure. This essay stands as a manifesto for curatorial reverence. It reclaims the role of the exhibition not as entertainment or aesthetic collage, but as a moral architecture—one that must be approached with continuity, restraint, and care. The cost of ignoring this? A public who walks through beauty without bearing its consequence. Vale, Dorian. Fractured Curation: On the Cost of Discontinuity. Museum of One, 2025. DOI: 10.5281/zenodo.16996506 This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843) Dorian Vale, Post-Interpretive Criticism, fractured curation, curatorial ethics, art exhibition critique, museum responsibility, trauma in curatorial practice, continuity in curation, moral proximity in exhibition design, witnessing through curation, ethical curation, spatial narrative in museums, careless curation, art and erasure, institutional critique, aesthetic sequencing, exhibition as architecture, custodial art criticism, reverent exhibition design, post-critical museum theory, viewer disorientation, discontinuity in art spaces

Thesis / Research Document of the Royal Academy of Art, The Hague, 2025 BA Interior Architecture and Furniture Design Summary (8968)

This concise study guide introduces the foundational framework of Post-Interpretive Criticism (PIC)—a new aesthetic philosophy that centers presence, moral proximity, and restraint in the practice of art criticism. Developed by Dorian Vale, the guide breaks down PIC into five core principles: Restraint over Interpretation Witness over Commentary Moral Proximity over Objectivity Viewer as Evidence Rejection of Performance Each principle is accompanied by a brief case study, reflection exercise, and ethical commentary, making this guide suitable for students, educators, curators, and critics seeking to apply PIC in the field. Instead of decoding the artwork, this framework encourages a posture of reverent presence, allowing the artwork to retain its autonomy and moral gravity. This resource is designed to be taught, discussed, and practiced. It supports classrooms, curatorial programs, writing workshops, and museum education—inviting a new generation of viewers to approach art with humility, silence, and philosophical depth. Vale, Dorian. Five Principles of Post-Interpretive Criticism: A Study Guide. Museum of One, 2025. DOI: 10.5281/zenodo.17077734 This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843) Post-Interpretive Criticism, study guide, art education, critical theory, Dorian Vale, aesthetic philosophy, viewer as evidence, slow looking, ethical criticism, trauma in art, art pedagogy, witness-based art criticism, art classroom resource, art and ethics, moral proximity, presence over interpretation, contemporary criticism, museum education, poetic criticism, art curriculum