Research Catalogue

This is my research portfolio on Bill Evans and his influence on jazz.

A visual map of the RC. Hover over a screenshot to see the title and author. If you click you will see a gallery with a screenshot of each of its weaves. There is a form which allows you to filter based on title, author, keywords, abstract and date. Keywords work in an additive way: so if you search for two keywords, you will get results that has either (or both). For an exposition to appear in this map, it needs to be public (share -> public or published). The map is updated once every 24 hours. There is an alternative map that allows you to browse all research by keyword.

Performance philosophy is still something of a ‘wild frontier’ where fundamental questions can be re-posed concerning the nature of wisdom and love, life and truth. For if love and wisdom are not co-extensive with verbal communication, then philosophy may be legitimately pursued by performative means. In this session the participants aim is to enact and unfold a set of trajectories rather than describe or 'define' their work in words alone. Passion and grief are disruptive currencies. Passion and grief not only seem un-necessary for biological life, they frequently threaten it. Yet a life lived without them would seem impoverished. Whether one views these turbulent affects as parasites, invaders, or as the engines of higher culture, they inhabit philosophy as an ineradicable black-market haunts all states and empires. We aim to consider this under-zone on its own terms, weaving theory with demonstrations of transferable techniques for cross-disciplinary research.

In this thesis, having introduced my research questions, in Chapter 2 I present a layered analysis of the important contexts of my practice—walking, sound, walking poetry, and place. In Chapter 3 I present and discuss three works that together explore how it is that I know the world as a sensate embodied walker. In Chapter 4 I develop what I came to call replicated walks—walks made more than once in the same place. Begun in order to re-configure time, they also led me to extend my consideration of place beyond that defined by geography, to place defined by biological phenomena or socio-cultural coherence. In Chapter 5 I describe my emerging ideas of human-scale of place and my underlying ideas of island-ness. Initially I worked on real islands, walking circumferential routes and those defined by chance procedures. From this I developed an imaginary island in the foothills of Northumberland’s Cheviot Hills; made from the human-scale of my embodied walking this led to my creation of an imaginary pandemic island of containment, created in a city, in my locale, made, and made real, by the traces of my embodied walking. Together my works constitute a body of work that represents a contribution to knowledge with specific contributions of: the use of Replicated Walks as a method of experimenting with time and place; Walking Words – the presentation of poetic text in forms (concertina-fold books, scripta continua, scrolls) that requires walking to engage with it, and that also function as metonyms for my original walking act; Walking Islands –the use of human-scale walking to imagine an island into existence, and then invoke the island as a lens through which to continue to pursue the idea. My work also contributes knowledge to the methods of how to record the sounds of the world whilst walking through it, over extended distances and time.

Research exposition of Sanne Bakker, as part of her master at the Royal Conservatory of the Hague. This research started with the aim of creating a better theoretical understanding and breaking down the creation process regarding the making of performances with lights. Ultimately, it became a reflection on the performative practice of a classical musician and the interdisciplinary collaboration while making an audiovisual performance. In particular, the process of the visualization of music. Through literary research into interdisciplinarity, audiovisual performances (specifically with classical music), and by doing a musical and narrative analysis through a case study of Paul Hindemith’s Sonate für Harfe, a theoretical framework is created for collaborative preparation with a visual artist and live experimentation. This research then shows the working process and the experiments that were conducted. It concludes with a reflection on the collaboration, the final product, and how playing the harp sonata in this audiovisual setting has affected the performance of the music.

A visual study/moodboard/presentation of a certain conspiratorial and often delusional stereotype of the character of the devil in the context of what was known as "SATANIC PANIC" in the era of 80's and early 90's in the US. Even though many of these associations come mainly from the western world, they have been more or less understood and recognized as "devilish" across the world and in the visual culture. There is a certain stereotype about calling something "SATANIC". Labeling things, activities, clothing, art, products, people etc. as "devil worshipping" often isnt connected to any kind of worship what so ever. There is this re-accuring act of calling out something as "Satanic" often snowballing the situation into an idea of an active threat, thats dangerous to the public. The "SATANIC PANIC" era lead to over a 12,000 unsubstantiated cases of these so called "Satanic practices" and many people ended up in jail because of it. This Satanic labeling has become a parcipatory missinformation quest.