Research Catalogue

A new filigrane sound object (or series of objects) in the making, w.i.p.

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. 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.

The PD Arts + Creative Symposium takes place at LocHal in Tilburg (NL) on 20 June 2025. This year’s symposium will highlight the programme’s multidisciplinary character by zooming in on the diverse fields of practice that its researchers operate in, connect to, and impact. It asks where, how, and with whom does the PD-research resonate? And what is the contribution of artistic and creative research to societal challenges?

This visual essay explores images generated through AI-based expansion of a simple photographic composition. Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there. The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.

In a world saturated with sonic and social noise, this project positions listening as a deliberate, ethical, and relational practice. Through a series of interdisciplinary performances and compositions, I investigate how improvisation and spatial acoustics can cultivate human connection, challenge perceptual norms, and activate space as a responsive collaborator. Drawing on theories from acoustic ecology, performance studies, and architecture, particularly the work of Beatriz Colomina, Paulina Oliveros, Blesser and Salter, I explore how environments shape musical communication and identity. Improvisation functions not only as a musical technique, but also as a method of social engagement and shared authorship. This research embraces openness, embodiment, and collective presence as central to how music is created, perceived, and lived.

As a tourist in London during the late 17th century, it was mandatory to visit the House of Bedlam, the biggest mental institution in the city. The patients, being considered completely unreasonable, were attributed animalic characteristics, which was reflected in the brutal treatment behind the bars. The ultimate mirroring of the culture of exposing madness could be found in the theatre. Composers for the theatre, in wanting to explore the inability of reason in humanity, wrote The Mad Songs, where the madness is reflected in quick shifts in emotions. These songs have been my tool to gain access to a broader palette of expression in singing. I have developed a handbook of historically informed techniques and documented my process of embodying them, using sources such as Le Brun's "Conférence (...)" (1698); Walter Charleton's "Natural History of the Passions" (1701); Aaron Hill's "The Art of Acting" (1753); and George Vandenhoff's "The Art of Elocution" (1846). My quest for madness has also become a quest for genuinity. When Charles Le Brun conveyed his theory of expression on canvas, he strongly distinguished the difference between painting tense muscles and painting genuine expression. This has become a guideline for my research: in order to gain genuinity, one has to channel a reaction and produce an impulse. This study is an attempt to bridge the gap between now and then, allowing for a deeper understanding of the Mad Songs, as well as encouraging others to dive into theatrical repertoire on its own premises.