Research Catalogue

In the softness of the belly… There is a war on women is a testimony to the lived stories of abortion from a perspective which transcends time and national borders. This research paper is structured around two intertwined trajectories with varying text formats and writing styles. This structure merges the personal with the political and explores their relationship as it reveals how they can’t be separated in a society with deeply rooted structures of patriarchy and misogyny. The first trajectory chronologically tells the story of the author's own experience with abortion integrated with the personal stories from friends and family members. The process of dealing with abortion is gradually laid out starting from childhood memories, proceeding into the practical turmoil and the contradicting emotions surrounding the experience itself, moving onto the mental and physical aftermaths, and lastly processing the experience and slowly healing. In the second trajectory the topic is explored from a more external perspective rooted in history, politics, culture, and society. Through research on the history of reproductive rights and procreation, the permeating role of patriarchy from the past to the presence is addressed. The investigation of patriarchy dives into the misogynist history of witch-hunts, hysteria, capitalism, domestic labor, and into the present where reproductive rights are both improving but also continuously being tightened or removed. This trajectory further explores several socio-cultural aspects of abortion through research-based text and more sporadic and poetic writings. The topics that are addressed are shame, guilt, religion, gender roles, depiction both visually and written, the public discussion, and the perception of blood, violence, and war in relation to women and reproductive rights. The aim of the research paper is to break down and reveal the patriarchal structures which compromise women's reproductive rights, and to state the importance of reclaiming the personal narratives as well as the autonomy over one's own body, narrative, and life.

reposition Journal of reflective Positions in Art & Research - support project for research documentation at the University of Applied Arts Vienna Initiated by Alexander Damianisch, reposition brings together the wide variety of research at the University of Applied Arts Vienna, and reflects on an ongoing culture of editorial structures for research in Arts and Sciences. reposition collects positions from ongoing processes. It offers researchers of all disciplines and departments at the University of Applied Arts Vienna the opportunity to publish their work according to peer-review principles. Colleagues of any level and doctoral students in arts and sciences are invited to share their work. This series showcases their diverse approaches to project-oriented research work and presents current insights, captivating research processes, and ongoing projects from a deeply personal perspective that courageously unearth the work-in-progress.

New creation - Sign Language and Dance - Video Projection and dance

The research question that motivates this study is: what insights can be drawn from collaborative filmmaking that can illuminate new pathways for interacting with the world around us? Against the backdrop of contemporary societal and environmental divisions, this artistic research explores ways for redefining relationships, both human and nonhuman, through the lens of the philosophical framework of co-poiesis. Using a practice-led research methodology based on the collaborative process of the short documentary "The Spectacle" this study explores how collaborative practice and sensory engagement can serve as a reflective tool, illuminating our relational dynamics and perceptual interactions with each other and our environment.

On the 13th of April 2024 an archaeological action in the 2º Torrão neighborhood was carried out, in collaboration with the Almada Archaeology Centre. The objective was not an excavation, it was not prospecting, but an activity that would make the residents, through the participation of the children who live there, aware of their recent past, their identity and the importance of what is happening in their neighborhood, for themselves and others. 2º Torrão is a self-built neighborhood located a few km from the center of Trafaria where approximately 2000 people live.

　Carl Reinecke (1824-1910) was a German composer, pianist, conductor of the Leipzig Gewandhaus Orchestra, and professor at the Leipzig Conservatory. His piano performances were admired by Felix Mendelssohn, Robert Schumann and Franz Liszt, and he was reputed as "the greatest and most sincere Mozart player of his time."However, you may be surprised on listening for the first time to his performances preserved on piano rolls, since there is noticeable use of expressive practices such as manual asynchrony, unnotated arpeggiation, and rubato (flexibility of rhythm and tempo), which is quite far from the kind of performance style that is considered good today. 　This research clarifies the features of the performance practices audible in early piano rolls, such as those by Reinecke. It focuses on how he arranged and notated the Larghetto from Mozart's Piano Concerto No.26 K.537 for piano solo, how he performed it on piano roll (1905), and how he described the performance of the movement in his book Zur Wiederbelebung der Mozart'schen Clavier-Concerte (1891). The discrepancies between the three source materials give an insight into the implied performance practices of Reinecke’s time and his tacit knowledge. The research culminates with personal experimentation and reflection on how these performance practices can expand the freedom and possibilities of the author’s performances.