Research Catalogue

Dit is een onderzoek naar 'het kunstzinnige' in het (professioneel) leven van alumni die, tijdens hun opleiding tot pedagogisch coach, werden ondergedompeld in een bad vol kunst en cultuur, vanuit de overtuiging dat dit hen zou verrijken in hun werk, in hun leven en hopelijk, misschien, in beide.

This exposition introduces the Art + Tech Lab at Stockholm University of the Arts — an emerging artistic research environment dedicated to the intersections of storytelling, technology and creative entrepreneurship. The Lab explores how artistic narratives evolve when shaped through immersive, interactive or algorithmic systems, and how technological experimentation can open new pathways for audiovisual futures. The exposition outlines the motivations behind establishing the Lab, its artistic and pedagogical grounding, and its role within Uniarts’ wider research ambitions. It reflects on the challenges and opportunities of building interdisciplinary research spaces inside an arts university, and considers how the Lab may develop through collaborations, residencies and cross-sector exchange. Rather than presenting a complete archive, this exposition offers a conceptual frame and an initial articulation of the Lab’s research questions and future directions.

My project explores the topic of identity, belonging, and freedom through illustration, poetry, and urban space. This semester has been dedicated to finishing my project. I placed new works across several areas, continuing to spread my posters and presence of pigeons within the urban spaces.

How can embodied listening be performed, from my ears (body) to yours? How are we (dis)oriented? ‘Braced under the heating sun’ is centred around listening to and documenting my childhood home and its aural particularities through processes of embodied listening. The project is based on my recordings and experiences there between February and March 2020 (bookended by the waning Australian black summer bush fires and the burgeoning COVID-19 pandemic). The house is made from wood and so bends with the weather. The wooden structure amplifies the sounds of our habitation. The house is located on the edge of a small town and next to a sugarcane farm in North Queensland. Although in a tropical climate it has no flyscreens, and air-conditioning in only one room. The windows are open all of the time to let a breeze through. Most evenings you can find green tree frogs, geckos and insects amongst other animals in or around the house. In this way nature (a wild exterior) pushes against and blurs into the home (an organised interior). It is never silent there, the sounds are a mix of all forces; human/animal, natural/industrial. For me, it resonates as a site that is connected to the world despite its rural location. In this house the “rhythms and cycles of the living and the immediate needs of every living being are highlighted and played out. It is where intensities proliferate themselves, where forces are expressed for their own sake, where sensation lives and experiments, where the future is affectively and perceptually anticipated” (Elizabeth Grosz 2008). In this audio paper, I discuss this installation work and my continued research on embodied listening.

theory practice theorize practice practice theory ... By using any of these words I am establishing an order of importance among them. My body cannot vocalize two of them at the same time. How in the world can this terrible order of things be abolished? How can we relate to a possible merge of the dichotomy theory/practice through language?

The theory & practice affair: this is piece "16" from the series "x out of 5448643200", and it is an arrangement of 16 possible combinations among 5448643200 available of the letters {p, r, a, c, t, i, c, e, t, h, e, o, r, y}. These letters make the word 'practicetheory', and also the word 'theorypractic'e. In fact, none of these two words exist, and yet are identifiable 'theory' and 'practice' as constitutive halves within them. Discourse not only describes the world but actually produces the world. We, as researchers and as artists - and particularly as artist-researchers - are in permanent tension with the two blocks, theory and practice, and despite our struggles to merge both, we are, through language, every time referring to one after the other. One after the other, in a hierarchy. We cannot speak the two words at the same time and, unless we invent a new word to refer to the crossbreed of the two, we are condemned to this limiting dichotomy. "x out of 5448643200" presents the hypothesis of billions of possibilities to re-write the productive merging of theory and practice. "16" shows sixteen of them (Thanks to Steve Norton and Robert Stevenson for collaboration)