Research Catalogue

The subjective experience of time pressure in today’s efficiency- and performance-oriented society is fuelled by a paradox: acceleration is omnipresent due to economic and technological demands, while at the same time complexity and self-responsibility require more time for decisions. This exposition examines individual and institutional ways of dealing with discrepant time demands. Where and how do different age groups experience divergent time regimes that occur simultaneously? Which techniques do individuals and institutions use or invent to synchronize different time perceptions, rhythms, and activities? How can artistic research create asynchronicity and make it experienceable through filmic means? And, finally, to what extent can filmic thinking produce ways of knowing that convey (as yet) unverbalized perceptions of time? Methodologically, this research combines analytical and artistic approaches in an essayistic procedure comprising cinematic practice and writing. On the one hand, it explores different aspects of divergent perceptions of time in a series of case studies under the leitmotif of “asynchronous determinations of time.” Situated in both immaterial and care work, in which bodily and affective temporalities are highly important, these empirical investigations consider the role of lifetime (age, biography, memory) and temporal modes (tempos; imperatives, indicatives, subjunctives). On the other hand, this study develops specific artistic procedures for focusing perception by means of narration, fragmentation, montage, visual and linguistic interventions, extractions and interweavings. Since simultaneous non-simultaneities (tend to) overwhelm subjective experience, the procedures adopted in this research contribute to new forms of filmic thinking and images of thought. They should be understood as an incentive to empathize with different understandings of time.

This public space project is taking place in my local community Sv. Filip i Jakov at the Dalmatian coast in Croatia. It is embedded in artistic research, conducted through the Masters of choreography programme COMMA at Codarts University of the Arts and Fontys Academy of the Arts. Following up my artistic research on the interrelation of space and the human inner world I am investigating what impact a surrounding, in particular the environment of the public space we live in, has on our thinking, feeling, acting, living and ways of being. The purpose of this project is raising awareness about the importance how we shape our common living spaces. In this practice-based research process I am using methods and tools from artistic and academic practices as reflective writing, observation, content analysis, site-specific movement explorations, choreographic tools, interdisciplinary framework, as well as informal methods like dwelling, experiencing and socializing. The outcome of this process is a multilayered context being transferred into an artistic concept. In an unexpected way the artistic creation turned out to be a tool for comprehending not only content and context, but substantially knowing and understanding myself. The results are disseminated as an exhibition with historic and artistic photographies, a site-specific performance, a social event with the local community in the public space of my home village and this written paper.

This exposition is documentation of practice elements and research procedures as part of my PhD: Alternative to What? Exploring Alternative Art Schools Through Spatiality, Participation and Performative Tools. The work presented is a form of immersive and deep mapping of the alternative art school and art pedagogies. For an optimal viewing experience, it is recommended to utilise the Chrome web browser.

Cultivating a sense of ownership in beginner music students is important for fostering engagement and self-confidence in their educational journey. This study explores how integrating creative activities into a beginner clarinet curriculum promotes ownership among students aged 9–11. Focusing on three specific activities tested in multiple case studies, the research investigates students' relation with their musical development. Findings reveal that using creative activities as part of a personalized, student-centered teaching approach enhances students' motivation and engagement, ultimately fostering a stronger sense of ownership in their learning experiences. The study also offers practical insights for music educators seeking to creatively teach instrumental skills while creating a meaningful musical experience for young clarinetists.

Table of contents JSS issues

The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape was a human-pulled carriage journey that re-envisioned the eighteenth-century traverse of the picturesque landscape, the subject-objectification of the view, and the imperialistic impulse behind the voyage pittoresque. This artistic experiment visually, kinaesthetically, and performatively explored the transformation from landscape to image that formed the basis of modern perception, as part of the colonial legacy inherent within the picturesque view. The Grand Tour carriage was pulled by human labour, evidencing the forced labour economy that impelled the European Enlightenment, while demonstrating in human terms, the use, abuse, and commodification of human and non-human animals. The Grand Tour proceeded from Binche to Brussels to Antwerp, Belgium in 2022. The Grand Tour experiment investigated the eighteenth-century picturesque gaze, which travelled unchecked over the landscape in industrialised Europe, a harbinger of the annexation and enclosure of land that had been commonly owned, traditionally used, or publicly accessible, while portending the colonisation of lands abroad. The picturesque gaze, an imperialist mechanism, still fragments the landscape, excising two-dimensional pictures from the three-dimensional world around us, a vestige and augur of the destruction of lands, cultures, and peoples. Shifting between early modern and contemporary perception, The Grand Tour bisected space and time in a cleaving manoeuvre, creating new fault lines in which multiple planes of space-time might co-exist. This experiment tested whether a new neo-picturesque framework could be forged in a dimension of space-time that alters according to the perception and orientation of the traverser, casting contingent new imaginaries into physical and psychic realms where they may or may not become realities, according to Arno Böhler’s philosophy as artistic research approach (2019). This experiment envisaged a plurality that did not exist in the eighteenth century but may have already been limned in its myriad contradicting, contrasting, and diverging modes of sensing and experiencing the world around us in a relational and now relative notion of space-time. Download Accessible PDF