Research Catalogue

Die Idee des Projekts war es, mit den Gegebenheiten vor Ort zu arbeiten und diesen als Inspirationsquelle sowohl inhaltlich als auch materiell zu nutzen. Was die Materialauswahl &-organisation betrifft nutzten wir Gebrauchtes aus lokalen Quellen und integrierten die Geschichten in Bezug auf die vorherige Nutzung der Materialien in das Stück. Neben den Darsteller*innen, die aus der Näheren Umgebung stammten, bekamen auch die Materialien eine „Stimme“. Ein wesentlicher inhaltlicher & materieller Bestandteil der Inszenierung war Erde, die als nicht-menschliche Akteur*in auf der Bühne behandelt wurde. Den Dialog zwischen Mensch und Hummus haben wir verfolgt, indem im Probenprozess Bewegungs-Material durch die Interaktion mit der Erde entwickelt wurde. Die dabei entstandenen Fragen müssen zukünftig sowohl vor als auch hinter der Bühne verhandelt werden: Wie können wir für unsere Umgebung Sorge tragen? Wie können wir neue Rituale in alten und vertrauten, gesellschaftlich konstruierten Lebensrealitäten finden, die für zukunftsfähiges Denken und Handeln nützlich sind? Franziska Wenning, Anja Gast, Rémy Bocquillon

Development of Curatorial Guidelines for the Transart Residency Exhibition at London's Borough Road Gallery in July 2025. The Anthologies Assembly, London 2025, extends a call for proposals for a vibrant, student-guided convergence of research inquiry and creative exploration. Building upon the inaugural assembly, participants are encouraged to embrace "research-based creative practice" as a means of knowledge generation where diverse disciplines intersect and boundaries blur. We welcome proposals that illuminate PhD research, including nascent "works-in-progress," emphasizing the value of ongoing inquiry. Guided by student feedback expressing both a desire for grounding in practice and community as well as exceptional moments that inspire, we aim to create spaces for genuine encounters and shared learning, where participants leave with lasting impressions on research and creative endeavors that continue to spark curiosity throughout the year. Our curatorial framework centers on the concept of investigation, as both a rigorous pursuit and an introspective exploration. Drawing from its etymological roots, we conceive of investigation as a tracing towards something no longer present—a turning-towards truths hidden or lost in time; and a nuanced examination of practices, be they social, political, or personal.

The purpose of this exposition is to collect data of what Performative Theology can be and become primarily within an academic research but also beyond. The expo will be a timespace nurtured by members the Network for Performative Theology, established 6 October 2022 in Oslo.

Andy Birtwistle’s introduction to this special issue addresses the question "what is sonic materiality?" by examining how both "new" and "old" materialisms offer productive frameworks for conceptualizing sound's material dimensions. Drawing on work by Cox, Voegelin, and Cobussen, alongside critiques from Goh, Thompson, and Campbell, the article proposes understanding sound's materiality through texture, temporal flow, and spatiality. By engaging with Structural/Materialist film theory and creative sonic practices, Birtwistle discusses how materiality intersects with aesthetics, agency, and ethics in sound. The introduction argues that exploring sonic materiality opens new avenues for understanding sound across environmental soundscapes, artistic practices, and cultural contexts.

Is the reality perceived by someone with dementia less real than our own? Can photography give authority to this alternate reality? This research, sparked by my newfound relationship with my dementia-affected grandfather Raymond, investigates the family album - often perceived as an unquestionable document - in order to uncover its ambiguities and to question photography in itself as the most trustful record of reality. The inaccuracy of a medium that aims for objectiveness and is perceived as the bearer of truth, leads me to focus on three different ways of approaching the family archive (collection, editing and manipulation) and the relationship between mortality and memory. By using a mix of photography and photogrammetry, Ray's distorted memories - as he recounted them during his illness - became new images in order to materialise his present parallel truth. Alongside this dreamlike everyday, what has survived of Ray's past is contained in a briefcase: 254 photographs that have been transformed into postcards, travelling keepsakes, ready to be sent. If photography is in itself unreliable, why should the reality of a person who has lost his memory be any less real than our own?

This project aims to explore the ability of playing by ear in order to design a creative and stimulating teaching approach for the development of the skill in piano lessons. The goal is to devise effective strategies for piano instructors, offering guidance on how to effectively advance the abilities of their students. Consistent with Woody’s ideas, playing by ear has been described by educators as a relevant developmental prerequisite to becoming a truly fluent music reader. Nevertheless, making sounds by ear is often just the initial and playful approach to music, and its significance diminishes considerably in education as the skill level increases. In fact, one must not forget the crucial role of the skill, that is the direct connection between music and player (without any interference like the score).