The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

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Cartilla Danza Inclusiva (2024) Laisvie Andrea Ochoa Gaevska, DAVID BERNAL
Cartilla que presenta buenas prácticas sobre danza inclusiva y accesible. Realizada por ConCuerpos Parte del Proyecto Danza para la Diversidad 2023. Apoyado por la Beca para el reconocimiento y la activación del patrimonio cultural de Sectores Sociales del Instituto Distrital de Patrimonio Cultural
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ELISABETH LAASONEN BELGRANO - PORTFOLIO (2024) Elisabeth Laasonen Belgrano
An overview of Elisabeth Belgrano's artistic / performance / research and teaching in higher arts education 2004-ongoing
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Biombo - membrana (2024) Ana Sousa Santos
Surge como objeto tridimensional, como espaço reflexivo e relacionalinter-espécies. Um biombo, que pode nos servir como elemento de separação entre espaços, de privação; quer como um objeto que se articula no espaço, resultando em abrigo, em proteção de quem se encontra dentro, um espaço para meditar, para se co-conectar consigo mesmo, com o outro e com os cinco elementos. (Espaço em construção e exposição metodológica e processual)
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Mirror selfies as a phenomenon of contemporary society, identity changes and the interaction of fashion and interior design (2024) Kristina Zejkanová
In my dissertation, I examine the manifestation of identity through material means - interior and clothing - and observe their dialogue in offline and online environments. I explore the occurrence of these spheres on social media, in everyday life and across history. I look for interesting connections in the context of the modern Western society we are part of. The key analysis was carried out by the Faculty of Applied Sciences at the University of West Bohemia in Pilsen, where various artificial intelligence methods looked for visual and conceptual parallels and colour schemes in the so-called mirror seflies, which I consider to be artefacts of contemporary society. The current academic year has been conducted mainly on the theoretical level, while the following year I plan to implement practical outputs that will materialize the data and findings.
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Instruments of Emotion: Exploring the Use of Musical Parameters in Film Scoring (2024) Malcolm Eric Lagger Caldwell
Music has always been a crucial element in films. In fact, a scene can have absolutely different meanings depending on the music. In this research project I tried to investigate to what extent these differences rely on the use of musical parameters such as instrumentation/timbre, melody, harmony, rhythm and tempo among others. I focused on 4 different emotions: Tension, Sadness, Rejoice and Nostalgia. The goal was to find out how these parameters can be used in order to maximise the depiction of the specific emotion being portrayed in each scene. The main source of information was the analysis of cues from various movies portraying different emotions in combination with interviews with film composers, some of them being the authors of the analysed films. All this led to the composition of new cues putting into practice what I learned. As a result, there are findings that suggest that to maximise the depiction of these different emotions the most important musical parameters to manipulate are tempo, harmony and instrumentation. As a research outcome, I composed music for cues for films such as Blood Diamond (2006), Luna de Avellaneda (2004) and Big Fish (2003).
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A Garden of Sounds and Flavours: Establishing a synergistic relationship between music and food in live performance settings (2024) Eduardo Gaspar Polo Baader
During the past decade, there has been a surge in the literature about crossmodal correspondences, consistent associations our minds establish between stimuli that are perceived through different senses. Correspondences between sound/music and flavour/taste have received particular scholarly attention, which has lead to a variety of practical applications in the form of food and music pairings, mostly examples of so-called ‘sonic seasoning’, a way to use sound to enhance or modify the tasting experience. This thesis aims to explore the pairing of food and music from an artistic perspective. Its goal is to find tools that would allow to present both music and food as components of coherent live performances in which neither of them is a mere ‘seasoning’ to the other. Through the description and exploration of different ‘mediating elements’ between them (such as crossmodal correspondences, but also structure, ritual, narrative, and others), a wide range of possibilities is presented to whoever wants to match food and music in a truly synergistic manner. Readers interested in multidisciplinary, interdisciplinary, or transdisciplinary artistic practices of any kind might find the outcomes of this research useful for their own work.
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