Research Catalogue

The Body I Post examines how social media, algorithmic systems, and digital surveillance reshape contemporary understandings and performances of the body. Against the backdrop of theoretical frames leading from Foucault to N. Katherine Hayles, the project at hand scrutinizes the dynamics of shifting gazes, erosion of privacy, and the emergence of the posthuman subject. The work identifies the means by which identities are extracted, categorized, and refashioned through platform infrastructures and biased datasets, by investigating case studies such as Face to Facebook, Amalia Ulman’s Excellences & Perfections, and Trevor Paglen’s ImageNet Roulette. The research combines social experiments, visual references, and personal reflection to explore how bodies are curated for visibility, disciplined by metrics, and archived in ever-expanding digital memory systems. It questions the tension between material embodiment and its algorithmically mediated double and the ways in which humans have become simultaneously users, subjects, and raw data. The Body I Post is about what it means for us to exist as hybrids of flesh and code in an era where self-presentation has become continuous, performative, and inseparable from technological systems.

Professional Doctorate in Arts + Creative is an educational pilot program in The Netherlands for an advanced degree in universities of applied sciences. The PD program at an university of applied sciences is developed to train an investigative professional. This portal is a platform for publishing artistic research generated by the PD candidates. Within the Professional Doctorate program, this portal will also be used as an internal tool for documentation.

Welcome to SKH’s Portal Page in Research Catalogue! From the SKH portal page you can access all our published expositions in the Research Catalogue – and get help to create your own exposition.

Public Positions - looking into the works of MA PPS artists and their Public Spaces. With this new collective online publication, MA PPS curates past and current alumni artistic research processes and practices that encapsulate references and positions of public space discourse. The publication serves as documentation of artists who developed (part of) their research together with the programme, and that shares their valuable contribution to the field of Performing Public Space.

In the last days of June 2024 I learned something I would rather not know. Aware that the act of forgetting is something that often simply happens, I started a daily practice of checking if I could still remember what I would like to forget. The question I found myself asking as time passed and I failed is if the desire to remember is what makes us forget. or In the last days of June 2024, I learned something I would rather not know. Something I wanted to forget. Aware that the act of forgetting is something that often simply happens, I start a daily practice: at the end of each day I sit down, stamp a date on a notebook page and take note: Do I still remember? I write using charcoal, a material that has little permanence. To work with charcoal is to constantly fight its desire to go away. Every night I take the time to see if I can still remember what I would like to forget. I know how to remember, I don’t know how to forget. I do nothing to forget, I simply let time pass and register the presence of this thing I now know. I don’t know how to actively forget, and I choose not to learn ways to do it. I wait for it to happen. As time passed and I failed, I found myself asking if the desire to remember is what makes us forget. I fail over and over again. I still remember.

This practice-led research exposition by architect-researcher Elina Koivisto explores how conducting architectural practice through the framework of feminist spatial practice can provide possibilities for un-learning harmful habits and reaching towards uncertain speculative futures. The case study project Kudos – Library for Material Relations realized in Espoo, Finland as a co-creative process between human and non-human participants, provided a lens through which the current material and social relations in architecture-making were challenged, applying the conceptual thinking of posthuman feminist thoughts on care and interconnectivity. Reflecting on the project, architecture is seen as a tool for feminist becomings rather than as a producer of mere artefacts, and meaning and significance are found in the process of its making.