Research Catalogue

Improvised ambient music making is a multi-dimensional process where the musical and the artistical skills are implemented into a dance between the mind of the performer and the creative use of technology. Both the mind and the machine together create a symbiotic relationship which over a course of a longer improvisational process produces a calming effect on the body and the mind, a sensation which in this artistic research is referred to as ”the slow buzz”. Over an 18-month period from June 2023 to December 2024 I practiced the creation of improvised ambient music by keeping a routine which included mechanical guitar warm ups, a meditation session and a recording session for an improvised ambient music track. This routine laid a solid foundation for my artistic work, generating all in all 360 improvised ambient tracks, which were all listened and analysed along the way. All the know-how and the musical style that emerged from this routine eventually led to the creation of a continuous, flowing form of improvisational live-ambient music. I then rehearsed, filmed, and analysed the resulting ambient music 40 times during the autumn of 2024 in order to gain insight into the mindstates that are affiliated with the creation of improvised ambient music. The final outcome of this artistic research process was then to be presented in the form of a solo concert during the Global Spring Festival, on the 15th of May 2025.

What senses arise from sensing? How does sensing affect the processes of sense-making? How can the density of senses be navigated through writing? This exposition retraces a specific sequence of thinking-in-the-making designed to address such questions in a collective workshop setting, where writing and sensing alternate in an iterative process.

This exposition presents a format designed for experiencing writing as a relational process in a workshop setting. It is based on implementations that have taken place in different contexts in the fields of higher education and research in the arts, and is intended as an invitation to further adopt and adapt the format in transversal settings.

How can groove influence ballet language to bring forth movement signature and support new meaning? I aim to uncover how groove can bridge classical form and movement signature by developing a method based on groove, revisiting ballet terminology, and allowing the performers to find their movement signature. Resilience has emerged as an accompanying concept that provides a base when generating movement. I research, create, and perform work that is anchored in Western Contemporary Dance. In my practice, I search for connections between the dancers, the concept, the music, the rehearsal process, and the performance. Questions I ask myself are: What are threads that help all involved connect to the work meaningfully? And how do we all come out of the creation with a sense of authorship? I often invite personal memories of the dancers into the work to make it more relatable, finding that commonalities emerge to connect us. The themes I base my concepts around are identity, finding a place of belonging, home, and womanhood. I have chosen to approach this research with varying lenses: my personal experience both in life and in the studio, through poetic writing, relating to thinkers and choreographers, and through the creation of Lost Threads. There is an analytical approach through depicting what in groove can serve ballet. I have based my research on music theory and transferred knowledge to an embodied practice around groove. I have analyzed the biomechanics of ballet movements, precisely 8, adding how language can contribute to another level of experiencing movement. I define resilience as the process of finding one's centre, and how the process toward equilibrium can be used to generate drive and inspiration, relating this process to choreographic scores and improvisation. The counter side of this research is the poetic approach I have taken through writing and sketching. This world offers further possibilities to uncover more knowledge on the connection of ballet and groove, performers and movement signature, resilience and improvisation. I’ve come back to my roots of ballet and gone deeper into the ground, emerging with an innovative practice through groove. Daring to search for innovative ways of bending classical form. Fontys Academy of the Arts, Codarts, Master Choreography COMMA, Master Arts, Cohort 4: 2023-2025

Thesis of the Royal Academy of Art, The Hague, 2024 BA Photography My research paper, Do Androids remember they once dreamed of Electric Sheep? investigates the interplay between artificial intelligence and human cognition, focusing on the theme of "dreams" as a metaphorical and literal framework for understanding large language models (LLMs). Starting with a personal reflection on the nature of knowledge, the research probes the philosophical question of what can truly be known, using the enigmatic functionality of LLMs like ChatGPT as a focal point. It challenges traditional views by comparing the often-unpredictable outputs of LLMs to the elusive and revealing nature of dreams.

Home page of the Journal of Sonic Studies