Research Catalogue

This public space project is taking place in my local community Sv. Filip i Jakov at the Dalmatian coast in Croatia. It is embedded in artistic research, conducted through the Masters of choreography programme COMMA at Codarts University of the Arts and Fontys Academy of the Arts. Following up my artistic research on the interrelation of space and the human inner world I am investigating what impact a surrounding, in particular the environment of the public space we live in, has on our thinking, feeling, acting, living and ways of being. The purpose of this project is raising awareness about the importance how we shape our common living spaces. In this practice-based research process I am using methods and tools from artistic and academic practices as reflective writing, observation, content analysis, site-specific movement explorations, choreographic tools, interdisciplinary framework, as well as informal methods like dwelling, experiencing and socializing. The outcome of this process is a multilayered context being transferred into an artistic concept. In an unexpected way the artistic creation turned out to be a tool for comprehending not only content and context, but substantially knowing and understanding myself. The results are disseminated as an exhibition with historic and artistic photographies, a site-specific performance, a social event with the local community in the public space of my home village and this written paper.

This exposition is documentation of practice elements and research procedures as part of my PhD: Alternative to What? Exploring Alternative Art Schools Through Spatiality, Participation and Performative Tools. The work presented is a form of immersive and deep mapping of the alternative art school and art pedagogies. For an optimal viewing experience, it is recommended to utilise the Chrome web browser.

This is an open-ended project or research process around extremely slow growth, and the contact between glass and biological material. It aims to implement a model of un-synchronisation, perhaps through the form of a modular installation. The “narrative” and linear scale of materials is reworked to transplant them into a spatial setting where individual nodes embody and reinterpret parts of these materials, creating a field of sonic or visual encounters.

Reworking the archival estate of the Turkish-born poet Semra Ertan, who has lived in West Germany as a so-called “guest laborer” from 1971 until her death by self-immolation in 1982, Cana Bilir-Meier’s film Semra Ertan (2013) pursues representational concerns via material means: in particular, via the materialities of sound cuts and tape hiss. This article brings Bilir-Meier’s sound work in dialogue with Tina M. Campt’s “listening to images” (2017) and Salomé Voegelin’s “sonic methodologies of sound” (2021) in order to develop a sonic method that accounts for the situatedness of historically and socially differently positioned listening subjects.

This article discusses sonic materiality through Alfred North Whitehead’s organicist materialism. The sonic materiality that is here outlined is not related to sound vibration. Materiality should here be understood in the sense of actuality and concreteness. Anything that produces an effect bears a qualitative difference. The actualization of qualitative difference is concreteness. It is in this sense that sonic materiality is developed in parallel with spatiality. The liveliness of this space emergence is that of affect; its concreteness is that of affect. It is based on Affect theory that we may understand its experience as an immersion in a concrete but abstract qualitative difference, an abstract materiality. Thus, the sonic materiality departs from a conventional conception of objects to foster a sonic object that constitutes itself through relationality and extensive connections. The empirical concept of affective territory speculatively attempts to grasp the spreading out of affect expressiveness through these connections to track its effects in experience.

Petromusicality. On the Sonic Culture of (Plastic) Material and Beyond explores the fossil fuel-based history of music media, focusing on vinyl records and their environmental impact. This Audio Paper examines historical production processes, material consumption, and the resurgence of vinyl culture. Through artistic research projects and expert perspectives, it discusses the political and ethical dimensions of sound reproduction. By highlighting sustainable alternatives and exploring the connections between extraction, mass production, and materiality, the study encourages a deeper engagement with the physical aspects of sound and their global implications.