Research Catalogue

Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material. The exposition exposes the question of what is artistic research. Usurping the mini-essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system. Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I use visual art and figurative examples as illustrations, adapting from methods, such as the example, used in analytic philosophy. I suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued. In this view, I ordered this exposition as a design proposal for two independent, yet interconnected exhibitions: one for the final artistic exhibition show; and one as a general overview for the artist's studio, set up as a stand alone, if parallel, exhibition.

I like to approach my body of work as being one big opera. Every object, wearable object or costume serves the opera. Every spatial costume a backdrop, every sculpture a prop, every wearable object a costume, every costume a character. One day I will make an opera consisting of all my works. Welcome to my world, welcome to my opera

Silence surrounds us, silence around us – on creativity in communication, which interacts with and addresses the theoretical and practical exploring of the artistic research for Green x (2022 –). Simultaneously, it might be possible to create an artistic method of intervention artistically, which aims at the theoretical level evolutionally. Is language the tool? If it is yes, what kind of tool is the language? Through the language, what can we produce and provide? Thereby, I address the topic of creativity in communication in reading silently, speech, and listening. On creativity in communication is a play to draw models. Thereby the leitmotif is "reading". Critical seeing in a model on reading subjectivity and objectivity at the online artistic representational level, Question for on creativity The research objective(s) is a future idea for physical space and its mobility within virtual space (potentiality) for a new type of idea for notation between tradition and modernity. In this aspect, towards international communication gaps between tradition and modernity, DADA solved the issue of communication and explored a new way of communication, that was not a philosophical metaphor, but rather that consisted of semiotics and semantics in the context of design, was creative. – New visual and auditory codes. Thereby I deal with “Tractatus logico-philosophicus”, that is a logic of nonsense by Wittgenstein in the theme of space, body and time. "Silence surrounds us, silence around us" is an artistic research series, after "N.N-Zwischenliegend", I have been started to explore in 2020, after the corona-pandemic.

Table of contents JSS issues

In this article we propose the concept of "sonic citizenship" as a framework for the multitude of ways in which we, in the rhythms of our everyday lives, form the aural background of each other, and how citizenship is practiced, negotiated, and maintained through everyday sonic activities. With examples of messy, fragile, and difficult interactions with sound from the time of the COVID-19 pandemic, we argue that the effort of tuning the soundscapes of the world needs to be complemented by an attuning approach that focuses on the negotiations we are constantly involved with in our everyday lives. The soundscape approach in the tradition of R. Murray Schafer implies that the soundscape is there as a landscape that we can uncover and tune. Conversely, the attuning approach of sonic citizenship understands soundscapes as relationships and dynamic configurations to which we must continuously attune, and which are themselves reconfigured via breaks in habitual attunements.

This paper introduces the method of intuition as it is presented by French philosopher Henri Bergson in the book An Introduction to Metaphysics (Bergson 1912). Its usefulness as a tool to observe relevant information in artistic practice in sound is further discussed in relation to a series of works by the author. Exploring this complex field the author makes a preliminary conclusion that sound is not a thing, and it is not limited to what we listen to. It is a system of interrelated threads, the meaning of which is much larger than the actual sound itself.