The Ruderal Triptych is a narrative, fictional, artistic, research project. It centers itself on questions of ownership as a legal and physical machinery, that works within global extractive economies. I want to question what we are really producing when we produce architecture. For as it stands it might not be the study of space, a lofty exploration of homes and places, but a professional discipline. Tied to the economical organization of a commodity society. Ownership of land, as a means of production. As an organizational principle is the foundation of current nation states, where the plot is registered on the surface of the state and thereafter upon to the global hegemonic economy of speculation. While our profession is disciplined to work within this framework, what are we really doing when we build “sustainably” are we sustaining life? the earth? the industry or the institutions more broadly?  When we try to take Bennett, Maccormack or Haraway seriously what space is there in this system for the nonhuman actors of the world? No rat can sign a lease, they have to be spoken for by someone else. So the professional architecture comes into crisis when trying to address real sustainability.The purpose of this project is to try to imagine beyond property as constraint for the ideation of architecture, through a series of explorations, narratives, and Artifacts/drawings/paintings that together make up the triptych.

My Code/World is a personal artistic research of the environment in which I work as a programmer - not a physical environment, but the virtual environment of a computer interface. This research has been taking place since roughly October 2016 and its result is a collection of loosely connected pieces (sketches, experiments), that will be presented as an installation within the studio space of the Studio Graphic Design 2, Faculty of Fine Arts, BUT.

Taming is an experiment and a written assignment about the development of ProjectMorpheo, which was my degree project at Stockholm University of the Arts. ProjectMorpheo is a participatory experience designed to explore the fragile connections between the content of our dreams and the physical materials that surround us. To give a chance for contemplation the project uses meditation and an experimental form of a contemporary puppetry technique: material animation. Taming Amorphalia is a fictional documentation of the intrapersonal happenings, the experiments and experiences that influenced me during the development of ProjectMorpheo. The aim is to introduce the intuitive process behind the project through the form of a text based RPG.

Based on Timothy Mortons notion of hyperobject, this material-discursive practice is a cooperative play of forces and intra-active agencies between nature and the technical world. This research reflects especially a paradigmatic shift from the traditional model to one of an interrelated and performative network, in which all of the non-human entities are seen with the same existence and considered to view as operative agents. From Karen Barads agential-realistic perspective and Timothy Mortons theory of hyperobjects, this article importantly examines how to enter into advantageous relationships in a posthumanist designpurpose. What this article contributes are theories and methods that are rooted in an ethical approach to include and explore non-human actors, especially with the starting point of repositioning oneself as a designer and collaborating with the material environment for the outcome for new perspectives. The study has thereof taken its final form into a design where its operational and performative actors, non-human and human agencies, have interacted to produce an audio-reactive installation. / Baserat på Timothy Mortons begrepp om hyperobjekt, är denna materiell-diskursiv praktik en kooperativ lek av krafter och intra-aktiva agenser mellan naturen och den tekniska världen. Denna undersökning reflekterar framförallt ett paradigmskifte från det traditionella formerna till en mer sammankopplad och performativt nätverk, där alla icke-mänskliga aktörer ses med samma grad av existens och övervägs att betraktas som operativa agenter. Utifrån Karen Barads agentiell-realistiska perspektiv och Timothy Mortons teori om hyperobjekt undersöker artikeln huvudsakligen hur man kan ingå i fördelaktiga relationer i ett posthumanistiskt designsyfte. Vad den här artikeln bidrar med är teorier och metoder som förankrar sig i ett etiskt förhållningssätt för att inkludera in och utforska icke-mänskliga aktörer, framförallt med utgångspunkten att ompositionera en designer och samverka med den materiella omgivningen för utfallet av nya perspektiv. Undersökningen har därav tagit sin slutform till en gestaltning där dess operativa och performativa aktörer, icke-mänskliga och mänskliga agenser, har samspelet fram en audio-reaktiv installation.

This master´s thesis studies the discourse surrounding research data and open access within the artistic research field in Sweden. Its purpose is to explain how librarians better can support artistic researchers in research data management. The study was conducted by nine qualitative interviews, four with artistic researchers and five with academic librarians, to further investigate the differences and similarities between the two workgroups approach to research data and open access. The paper uses a theoretical framework of poststructuralist discourse analysis, inspired by discourse researcher Johannes Angermüller, to uncover structures and meanings connecting research data and open access amongst the two occupations. The thesis also uses Jacques Derrida´s concept of deconstruction, as inspiration to further analyze the collected material. The interview material was transcribed, coded and presented in three chapters. The first part investigates the subject of research data and management, the second part presents the data collected when investigating the topic of open science. The final chapter of the analysis discusses the interactions between the two groups. The results show that the concept of research data and open access remains a difficult and complex question within artistic research, where the discourse surrounding it is made up by multifaceted voices. The paper concludes that the field would benefit from a further collaboration between researchers and librarians in understanding and handling questions surrounding open access and research data. The data further suggests that more established guidelines and principles for data publishing within the artistic research field would further help librarians and researchers when communicating with each other. This is a two-year master´s thesis in library and information science.

[ES] La investigación teorico práctica de esta tesis se centra fundamentalmente en el estudio del espejo, la psicosis y la mujer artista. A través de un exhaustivo análisis profundizamos en el carácter simbólico de la mujer reflejada a través del espejo, y sus posteriores influencias en el arte contemporáneo. Al analizar esta dualidad entre el individuo y la mente, indagamos en el estudio de la psique y en la representación de la psicosis femenina en la video-performance con artistas como: Maya Deren, Joan Jonas,Yayoi Kusama, Dara Birnbaum, Nil Yalter y Nicole Croiset Rebeca Horn, Àngels Ribé. Finalmente, examinamos la presencia más actual de la mujer en el ámbito artístico y su relación con su reflejo como plasmación de su propia mirada introspectiva, desde el testimonio más corpóreo, objetual y fetichista, heredado de la sociedad patriarcal a sus reivindicaciones artísticas feministas. De igual modo, testimoniamos cómo el espejo se ha convertido en manos de las mujeres artistas en un instrumento que manifiesta qué significa ser mujer en el arte contemporáneo, no exento de un carácter intimo, crítico y combativo, como lo testimonian: Valie Export, Pipilotti Rist, Lynn Hershman... / [CA] La investigació teoricopràctica d'aquesta tesi se centra fonamentalment en l'estudi del mirall, la psicosi i la dona artista. A través d'una exhaustiva anàlisi aprofundirem en el caràcter simbòlic de la dona reflectida a través del mirall, i les influències posteriors en l'art contemporani. En analitzar aquesta dualitat entre l'individu i la ment, indagarem en estudi de la psique, i en la representació de la psicosi femenina a la videoperformance amb artistes com: Maya Deren, Joan Jonas, Yayoi Kusama, Dara Birnbaum, Nil Yalter i Nicole Croiset Rebeca Horn, Àngels Ribé. Finalment, examinarem la presència més actual de la dona a l'àmbit artístic i la seva relació amb el seu reflex com a plasmació de la seva pròpia mirada introspectiva, des del testimoni més corpori, objectual i fetitxista, heretat de la societat patriarcal a les seves reivindicacions artístiques feministes. De la mateixa manera, testimoniem com el mirall s'ha convertit en mans de les dones artistes en un instrument que manifesta què significa ser dona a l'art contemporani, no exempt d'un caràcter íntim, crític i combatiu, com ho testimonien: Valie Export, Pipilotti Rist, Lynn Hershman... / [EN] The theoretical and practical investigation of this thesis is fundamentally focused on the study of the mirror, psychosis and the female artist. Through an exhaustive analysis we will delve into the symbolic character of the woman reflected through the mirror, and her subsequent influences on contemporary art. By analyzing this duality between the individual and the mind, we will investigate the study of the psyche, and the representation of female psychosis in video-performance with artists such as: Maya Deren, Joan Jonas, Yayoi Kusama, Dara Birnbaum, Nil Yalter and Nicole Croiset Rebeca Horn, Àngels Ribé. Finally, we will examine the most current presence of women in the artistic field and their relationship with their reflection as a reflection of their own introspective gaze, from the most corporeal, objectual and fetishist testimony, inherited from the patriarchal society to its feminist artistic claims. In the same way, we testify how the mirror has become in the hands of women artists an instrument that manifests what it means to be a woman in contemporary art, not exempt from an intimate, critical and combative character, as witnessed by: Valie Export, Pipilotti Rist, Lynn Hershman... / Toledo Ribes, S. (2024). El espejo y la mujer en el arte. Psicosis, sociedad y video-performance [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202697

[ES] Una parte fundamental de la historia del VIDEODANZA en la Comunidad Valenciana está ligada a CONTACTART (Acciones Artísticas Contemporáneas), proyecto artístico interdisciplinar que nace en Valencia en 1995, con el objetivo de impulsar el arte contemporáneo en sus diversas formas de expresión. Desde sus orígenes hasta la actualidad, CONTACTART VIDEODANZA ha canalizado numerosas acciones de carácter nacional e internacional alrededor de la actividad coreográfica, su historia y sus prácticas, en colaboración con entidades diversas. La recuperación y revalorización de esta memoria histórica, junto a un estudio más analítico de todo este recorrido y su transmisión como legado a futuras generaciones a través de una catalogación de documentos materializada como base de datos, constituyen los fundamentos de esta tesis doctoral sustentada en una metodología de investigación mixta. / [CA] Una part fonamental de la història de la VIDEODANSA a la Comunitat Valenciana està lligada a CONTACTART (Accions Artístiques Contemporànies), projecte artístic interdisciplinari que naix a València en 1995, amb l'objectiu d'impulsar l'art contemporani en les seues diverses formes d'expressió. Des dels seus orígens fins a l'actualitat, CONTACTART VIDEODANSA ha canalitzat nombroses accions de caràcter nacional i internacional al voltant de l'activitat coreogràfica, la seua història i les seues pràctiques, en col·laboració amb entitats diverses. La recuperació i revaloració d'aquesta memòria històrica, al costat d'un estudi més analític de tot aquest recorregut i la seua transmissió com a llegat a futures generacions a través d'una catalogació de documents materialitzada com a base de dades, constitueixen els fonaments d'aquesta tesi doctoral sustentada en una metodologia d'investigació mixta. / [EN] An essential part of DANCE FILMS history in Valencian Community (Spain) is linked to CONTACTART (Contemporary Artistic Actions), a multidisciplinary artistic project born in Valencia, in 1995, with the aim of boosting the contemporary art in its diverse forms. From its origins to the present time, CONTACTART DANCE FILMS has canalized numerous national and international actions around choreographic activity, its history and its practices, in collaboration with several entities. The recovery and reassessment of this historic memory, along with a deeper analytical study throughout this process and its transmission as legacy to future generations through a cataloging of documents materialized in a data base, constitute the foundations of the present doctoral thesis supported by a mixed research methodology. / Ricart García, R. (2024). CONTACTART (Acciones Artísticas Contemporáneas) 1995-2015: veinte años de Vídeodanza en la Comunidad Valenciana. Trascendencia, Documentación, Repercusión [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203216

Esta dissertação consiste de um memorial do processo de construção da performance das Seis Danças Romenas de Béla Bártok por uma perspectiva da cognição corporificada. Fundamentada na proposição de objetos sônico-gestuais coarticulados de Godøy (2006; 2011) e na abordagem gestual de Pierce (2007) esta pesquisa investigou através da prática artística como gesto e som modelam-se mutuamente e de que maneira esse processo contínuo influencia a concepção da obra e as relações entre performer, música e instrumento. Considerando que as vivências do corpo não se limitam à prática pianística, foram trazidas perspectivas de experiências externas que contribuíram para a consciência corporal e que proporcionaram insights relevantes para a condução do processo artístico. A abordagem metodológica reúne a Pesquisa Artística e a Autoetnografia no que concerne desvelar o conhecimento corporificado inerente a um processo de criação artística através da narrativa pessoal. A documentação do processo compreendeu: 1) anotações em um diário das vivências, aulas de piano e sessões de estudo; 2) gravações de vídeo de sessões de estudo; 3) gravações de performances ao longo do processo; 4) comparação entre a gravação final da performance da obra e a primeira gravação realizada em momento anterior à pesquisa. Estes registros foram examinados com o propósito de compreender o processo artístico de uma perspectiva de corpo e música em constante estado de devir, identificando os momentos de insights mais significativos, e mapeando os recursos criativos elaborados pela performer ao longo do processo. As reflexões da performer acerca do processo conduziram a um reconhecimento de si mesma como sujeito corporificado, a perceber a música como fenômeno essencialmente corporal, e a transformações na concepção da obra. O processo artístico centrado no corpo acarretou mudanças significativas na interação da performer com o instrumento, o desenvolvimento de um maior repertório gestual, um incremento dos recursos expressivos, e o refinamento da percepção auditiva, promovendo o desenvolvimento da criatividade e da autonomia artística, bem como da maturidade emocional. / This dissertation is the performer’s account of the process of constructing a performance of Béla Bártok’s Romanian Folk Dances from the perspective of embodied cognition. Based on Godøy’s proposition of gestural-sonic coarticulation (2006; 2011), and Alexandra Pierce’s gestural approach to piano performance (2007), this research investigated how gesture and sound shape one another, and how this continuous process affects the conception of the work and the relations between performer, music and instrument. Considering that lived experience exceeds piano practice, perspectives from extra-musical activities were considered due to their contribution towards promoting bodily awareness and insights that were relevant to the artistic process. The methodological approach draws from Artistic Research and Autoethnography in regard to uncovering embodied knowledge ingrained in the process of artistic creation through personal narrative. The documentation of the process comprised: 1) a journal describing practice sessions, piano lessons and extra-musical experiences; 2) video recordings of practice sessions; 3) video recordings of performances along the process; 4) a comparison between the final performance and the first recording of the piece made prior to the present research. These records were examined with the purpose of comprehending the artistic process from the perspective of body and music in a constant state of becoming, identifying the most meaningful moments of insight, and mapping creative resources devised by the performer during the artistic process. The performer’s reflections upon the process lead to recognizing oneself as an embodied subject, to perceiving music as an essentially corporeal phenomenon, and to transformations in the conception of the musical work. The artistic process centered on the performer’s body promoted significant changes in the performer’s interaction with the instrument, the development of a broader gestural repertoire, an increment in expressive resources, and the refinement of aural perception, fostering the growth of creativity and artistic autonomy, as well as emotional maturation.

This artistic research project is an explorative study in new forms of expression of Swedish folk singing in a scenic context, exploring expressive qualities in traditional Swedish folk song from the point of view of the folk singer as a creative performer. The fundamental research question is how, in a scenic context, can space be given to what is a characteristic quality of traditional folk song, namely creative interpretation in the moment, through variation and improvisation using the song as a concept rather than a fixed work. How can this view be expressed in a staged concert form that enhances the perception of the music being created in the moment? How can the aesthetic qua- lities and forms of variation and improvisation that are inherent to traditional folk singing be explored?The artistic exploration has been performed through five productions/projects, each one with its own specific theme: ReBoot/OmStart – en folksångperformance, Kurbits-Koral, The Spirit of the Moment – en musikhändelse, Getens horn – en musikskapelse, Voice Space – Röstrymd, Kulning – en utsmyckning av oändligheten. The thesis focuses on two aspects of the knowledge that has been developed in the artistic work, namely the processes for creating the work and the artistic concepts used to explore the question artistically.In ReBoot/OmStart the subtle forms of variation typical of traditional Swedish folk singing are explored within the frame of a concert consisting of one continuous set, a folk song performance. In this work principles of varia- tion for music and lyrics that are typical for Swedish traditional folk singing are explored, as well as new concepts for associative variation in the performance. This includes improvised combinations of different melodies as well as utilizing the frame story of a ballad as the ground for the performance rather than a specific ballad text.Kurbits-Koral has been inspired by traditional folk hymns, historical evidence of traditional folk hymn sing- ing, by the role of sacred folk song in traditional contexts and from folk polyphony. It can be viewed as a prac- tical exploration of the dimension of polyphony – monophony in folk vocal performance. This concert-perfor- mance also explores a form for interactive performance where the boundary between the audience/auditorium and the artists/stage is challenged, based upon the idea that the audience and the artists are jointly involved in a musical ritual or story-telling – the concert as a musical happening.Getens horn is an ensemble performance of entirely original music, which uses the form of an associative musi- cal narration in a scenic context that was developed in the previous concert projects. The lyrics of the songs ori- ginate from traditional and new stories about creation, how everything came about. It can be viewed as a musical saga, but not in the sense of a coherent literary narrative, rather as a musical narration, an associative web.In Voice Space traditional folk singing meets live electronics in a scenic space, where the interplay between live electronics and voice/instruments creates the possibility for an associative musical narration, a Voice Space. Can the fixed, static nature of a loop pedal and the flexibility of traditional folk singing voice introduce a creative tension? Voice Space can be regarded as a playful exploration of illusions and expectations within dimensions such as space, polyphony-monophony and improvisation-composition.Kulning explores the pedagogical and artistic applications of kulning as a vocal expression, in terms of style and vocal technique. How can the art of kulning as a form for vocal and artistic expression be explored pedago- gically, from a performance perspective?The result of this doctoral project consists first and foremost of the individual works, as documented in recordings/films, a book and in ‘musical scripts’, but also of the creative methods and artistic musical concepts that have been revealed by reflective analyses documented in the written thesis. In particular, concepts and methods stimulating improvisation, variation, presence and creation in the performance have been explored, from the point of view of the song as a concept and the folk singer as a creative performer. The written thesis can be regarded complementary to the performances, and is in itself an analysis of artistic processes, methods and concepts, placed in a theoretical framework relating to concepts such as orality-literacy, performance, flow and artistic expression.

Esta dissertação consiste de um memorial do processo de construção da performance das Seis Danças Romenas de Béla Bártok por uma perspectiva da cognição corporificada. Fundamentada na proposição de objetos sônico-gestuais coarticulados de Godøy (2006; 2011) e na abordagem gestual de Pierce (2007) esta pesquisa investigou através da prática artística como gesto e som modelam-se mutuamente e de que maneira esse processo contínuo influencia a concepção da obra e as relações entre performer, música e instrumento. Considerando que as vivências do corpo não se limitam à prática pianística, foram trazidas perspectivas de experiências externas que contribuíram para a consciência corporal e que proporcionaram insights relevantes para a condução do processo artístico. A abordagem metodológica reúne a Pesquisa Artística e a Autoetnografia no que concerne desvelar o conhecimento corporificado inerente a um processo de criação artística através da narrativa pessoal. A documentação do processo compreendeu: 1) anotações em um diário das vivências, aulas de piano e sessões de estudo; 2) gravações de vídeo de sessões de estudo; 3) gravações de performances ao longo do processo; 4) comparação entre a gravação final da performance da obra e a primeira gravação realizada em momento anterior à pesquisa. Estes registros foram examinados com o propósito de compreender o processo artístico de uma perspectiva de corpo e música em constante estado de devir, identificando os momentos de insights mais significativos, e mapeando os recursos criativos elaborados pela performer ao longo do processo. As reflexões da performer acerca do processo conduziram a um reconhecimento de si mesma como sujeito corporificado, a perceber a música como fenômeno essencialmente corporal, e a transformações na concepção da obra. O processo artístico centrado no corpo acarretou mudanças significativas na interação da performer com o instrumento, o desenvolvimento de um maior repertório gestual, um incremento dos recursos expressivos, e o refinamento da percepção auditiva, promovendo o desenvolvimento da criatividade e da autonomia artística, bem como da maturidade emocional. / This dissertation is the performer’s account of the process of constructing a performance of Béla Bártok’s Romanian Folk Dances from the perspective of embodied cognition. Based on Godøy’s proposition of gestural-sonic coarticulation (2006; 2011), and Alexandra Pierce’s gestural approach to piano performance (2007), this research investigated how gesture and sound shape one another, and how this continuous process affects the conception of the work and the relations between performer, music and instrument. Considering that lived experience exceeds piano practice, perspectives from extra-musical activities were considered due to their contribution towards promoting bodily awareness and insights that were relevant to the artistic process. The methodological approach draws from Artistic Research and Autoethnography in regard to uncovering embodied knowledge ingrained in the process of artistic creation through personal narrative. The documentation of the process comprised: 1) a journal describing practice sessions, piano lessons and extra-musical experiences; 2) video recordings of practice sessions; 3) video recordings of performances along the process; 4) a comparison between the final performance and the first recording of the piece made prior to the present research. These records were examined with the purpose of comprehending the artistic process from the perspective of body and music in a constant state of becoming, identifying the most meaningful moments of insight, and mapping creative resources devised by the performer during the artistic process. The performer’s reflections upon the process lead to recognizing oneself as an embodied subject, to perceiving music as an essentially corporeal phenomenon, and to transformations in the conception of the musical work. The artistic process centered on the performer’s body promoted significant changes in the performer’s interaction with the instrument, the development of a broader gestural repertoire, an increment in expressive resources, and the refinement of aural perception, fostering the growth of creativity and artistic autonomy, as well as emotional maturation.