Research Catalogue

This research introduces Psychoformism, an innovative artistic style synthesizing form, emotion, and subconscious energy into a unified aesthetic expression. Positioned within the broader discourse of art history, Psychoformism proposes a fluid, dynamic visual language that transcends traditional bodily representation. The style aims to shift the viewer's role from passive observer to active participant by visually embodying internal emotional states as forms that emerge from subconscious energies. Psychoformism thus provides a conceptual and practical framework for exploring deeper psychological engagement and subjective perception within aesthetic experiences. As proposed by the author, “Form is emotion itself; emotion emerges from within the body and transforms directly into visual form.” (A. Babak, 2025)

This exposition is a documentary project on the artistic research project Neither Fish nor Fowl. The research project consists of theater making, film making, workshops, performances and writing, and explores the wondrous worlds of becoming in theatre for early years. Together with my theater company Teater Fot, I have been investigating the significance of affect as philosophical, emotional, and material inspiration in the creative process, and in relation to young children in Theater for Early Years. Neither Fish nor Fowl was conducted as a performance project from April 2017 to March 2020. During this period, the research process was documented in RC, presenting methods, writings, and reflections along the way. The pre-production performance (for babies 0-2) was shown at the festival Olavsfestdagene in Trondheim, Norway, summer 2017 and at Trondheim Kunsthall autumn 2017. The full production, Begynnelser (for 3-5 years), was presented in april 2018 in co-production with the venue Teaterhuset Avant Garden in Trondheim. Baby Becomings (0-2 years), was presented at festivals and for kindergartens in Trondheim autumn 2018, and the final version Himmel & Hav / Sky & Sea was presented at Rosendal Teater in in March 2020, touring kindergartens for one week. Animalium (2019) was a spin-off production with film making, workshops, visiting exhibition spaces and other public spaces. An exposition in VIS - Nordic Journal for Artistic Research #2 on the theme Estrangement was published in 2020 through RC. In the period 2020-26 Animalium has become a new site specific research project, looking at post humanist approaches to different sites such as kindergarten spaces, libraries and art exhibition spaces, documented as an ongoing research project here. In 2026 a new version of Sky & Sea will be produced for kindergarten touring: Himmelfiskene.

Maxlab was a research group at the Royal Academy of Fine Arts Antwerp (01/01/2013–19/12/2025), coordinated by Janna Beck, that explored how digital tools could actively shape artistic practice. Unofficial Maxlab Archive offers an overview of its many endeavours, developed in collaboration with researchers, artists, students, and a wide range of partners, framing technology as a co-worker and infrastructure as a space for encounter. The archive brings together collective projects alongside distinct artistic research trajectories. Large-scale collaborative formats—such as projection environments, digital drawing platforms, and transnational studio practices—coexisted with research projects rooted in personal authorship and specific artistic questions. These trajectories were linked through a shared vision on digitalisation in the arts, grounded in adaptability, digital autonomy, and an active understanding of technology as material and condition. The projects collected here demonstrate how lightweight, flexible setups can enable artistic processes across locations and time zones, while leaving room for singular focus and situated inquiry. Digital autonomy is central: technology is neither spectacle nor end goal, but something to be understood, adjusted, and appropriated in order to keep artistic agency open. Rather than operating as a fixed structure, Maxlab functioned as an evolving ecosystem that designed situations for collaboration, circulation of authorship, and productive friction. Openness, simplicity, and adaptability were not merely technical choices, but ethical and artistic positions. Through this lens, the archive documents how research practices emerged in unexpected contexts—rooftops in Havana, community centres in Durban, deserts, planetariums, and festivals—wherever people, technology, and place intersected. The archive captures this way of working and the energy generated when a laboratory exists primarily as a method rather than an institution.

This dataset presents a quantitative diagnostic analysis of critical posture in contemporary art writing across a forty-five-year span (1980–2025). Using the Post-Interpretive Criticism (PIC) diagnostic framework, twenty influential texts drawn from journals, newspapers, magazines, institutional press releases, and exhibition discourse were coded sentence-by-sentence to examine how critical language positions itself in relation to artworks, viewers, and institutional authority. Five indices were applied: Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), and Institutional Alignment Indicator (IAI). Rather than evaluating interpretive correctness or aesthetic value, the framework isolates how critical claims are produced—measuring the balance between descriptive encounter and explanatory force, the degree of viewer displacement, the presence or absence of linguistic restraint, and the extent of institutional mediation. The dataset demonstrates that high rhetorical intensity does not necessarily correlate with high interpretive extraction, and that ostensibly “plain” theoretical language frequently produces maximal displacement. Across historical periods, the results reveal recurring postures—verdict-driven criticism, theory-dominated explanation, affective populism, and market-aligned promotion—each identifiable through distinct metric profiles. The findings provide quantitative support for a central claim of Post-Interpretive Criticism: that the ethical stakes of art writing reside not in what criticism concludes, but in how closely it remains to the conditions of encounter. This dataset is offered as a reflective and exploratory diagnostic resource, not a prescriptive model, contributing a formal complement to phenomenological and post-hermeneutic approaches in contemporary aesthetics. This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and _Art as Truth: A Treatise_ (Q136329071), _Aesthetic Recursion Theory_ (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946) ISSN 2819-7232 Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. ORCID: 0009-0004-7737-5094

Journalistic storytelling should move away from the hero narrative. Instead, drawing on Ursula K. Le Guin’s Carrier Bag Theory, it should adopt a “carrier-bag” perspective: to gather, carry, and connect—collecting attentively, bringing home what matters, and linking insights through pencil-based drawing. Drawing becomes a journalistic method for deepened research. Through the nouvelle histoire (Annales School, longue durée) and the sculptural contrast between Rodin (monumental condensation) and Medardo Rosso (fragile appearance), the text shows how attention to everyday life, materiality, and in-between spaces generated new forms of relevance and helped initiate social shifts. Drawing is proposed as a research practice that makes complexity visible, marks uncertainty, and enables more peaceful, context-rich modes of storytelling in newsrooms and teaching.

Questa esposizione fa parte di un progetto di ricerca artistica più ampio, articolato in diverse declinazioni. Il focus presentato si concentra su un’indagine specifica della violenza attraverso il dispositivo dell’auto-conferenza, intesa come pratica performativa e riflessiva. La ricerca prende avvio dalle conferenze autofinzionali di Sergio Blanco, in particolare dalla sua elaborazione della violenza come costruzione narrativa, e si sviluppa attraverso la rielaborazione di un’esperienza personale di violenza subita. In questo contesto, l’autofinzione diventa uno strumento metodologico capace di mettere in relazione l’esperienza vissuta, il discorso teorico e la rappresentazione. L’auto-conferenza viene quindi intesa come una vera e propria metodologia di ricerca artistica: uno spazio in cui l’esperienza personale si intreccia con riferimenti teorici e visivi, generando una riflessione critica sulla rappresentazione della violenza e sulle possibilità del racconto di sé come pratica di conoscenza. L’elemento autobiografico, sempre in bilico tra attendibilità e finzione, diventa così il punto di partenza per una riflessione che supera l’io dell’autore e si apre a una dimensione collettiva, coinvolgendo lettori e spettatori.