Ariane Trümper is a scenographer, media artist and researcher. Her work is situated on the intersection between fine arts and performance/spatial design, researching perceptive and performative processes filtered through our bodies and technology. Ariane has a background as film professional, working in Germany and France. In 2014 she graduated - Cum Laude - with a Master of Fine Arts in Scenography at the Frank Mohr Institute (FMI) in Groningen. During her study she started focusing on the creation of 'truth' through technology, such as camera’s and interactive performance programs, and visited additional courses of the IME Master program (Interactive Media and Environments). Ariane is working as artist and scenographer in Germany and the Netherlands. She received grants from i.e. the CBK Rotterdam for her research on the experience of space through sound, is an editorial member of the Dutch research group Platform-Scenography and regularly taking part in research formats, such as the Research Academy in Zurich, or the Academy for Theatre and Digitality at the Schauspiel Dortmund. She creates performative installations, set designs and media works, and is a tutor at the MA Scenography program of the HKU.
Research"The line between the forces defining our perception of live, between screens and physical spaces.
The movement between those two, maybe a movement between immersion and aesthetic distance.
The insecurity to be of both, of being part of something contradictory; observing critically, to be under the influence of an immersion, trying to have control over it."
What type of spaces are relevant in our digitalized society? What is the matter of these spaces and how do they manifest? Through the emergence of technology capable of recording live events and re-playing those at different time and space, and technology that makes it possible to be present at a 'far away' live event, our understanding of crucial parameters of life, such as space, time, presence, reality or even community, is changing. In this research I want to explore the dimensions of these transformations at hand. I intend to juxtapose the emergence and the impact of virtual spaces, mainly audio-visual ones, in the arts, with the shifts happening in our digitalized society, and observe the structures and processes underlying these developments.
Over the last decades, scenography can less and less be seen as a decorative art, but as one that is researching and creating interactive, performative processes and ecosystems. I believe this development to be a mirror of what is 'relevant' in our society, and that it describes a transdisciplinary phenomena, which is becoming visible in the production of and through art, as well likely in other disciplines in- and outside of the arts. My research is intended to have a transdisciplinary approach, gaining knowledge from areas such as performance, media and fine arts, as well as psychology, behavioural studies and anthropology, queer studies or cyber feminism. I want to juxtapose the contemporary 'expansion' of ideas in scenography with developments in society, while practising a transdisciplinary understanding of art disciplines, and extend them, in a holistic manner, through research made in other sciences and forms of knowledge. I will focus on exchanging and critical reflecting with peers, searching conversations especially with specialists from other disciplines. Practically I specifically want to focus on the use of audio and video technologies, as these are referring to two senses, sight and hearing, that are constantly being mediated in our everyday life.
Anke Jongejan is a fashion designer, researcher and senior lecturer at HKU’s Fashion department where she educates students on sustainability and research practices. She had to wait until after graduating an MA in Fashion Design before admitting that her interest in fashion does not concern the garments itself but the ‘system’ of fashion. Anke’s company, Fashion Futures, channels her impatience with the slow progress of innovation in fashion into speculative design. Education has been an integral part of her practice since graduation, developing and exchanging research methods with design students and colleagues.
ResearchMy research will delve into the possibilities for systems change in the field of fashion and the role designers can play in this. Plenty of solutions and alternative systems have been developed for fashion, but none takes hold or ‘disrupts’ the pollutant status quo. Individual designers, like my students, are left concerned and powerless.
I’ll be exploring design (research) methods for intervening in a system, looking for maximum impact. The research process will generate both information and prototypes, while developing a toolkit for designing a different future (for future designers).
Simona Kicurovska is a maker, (re)searcher, teacher and thinkerer, working in (graphic) design and education. By way of (moving) images and performative self-expression she explores the ways in which words and language (the method of human communication) and narrative identity constructs are mediated by the tools and technology that we surround ourselves with. She is fascinated by the visual poetics that appear in the residual space of technological progress. The delay, the mistake, the confusion, the awkward, the glitch. Each time a machine or an interface malfunctions is a reminder that it's (just) a tool. Staring back in the reflection of the black mirror is the unpredictable, vulnerable person, whose bodily extension this is. Within design education she is particularly focused on exploring research strategies to enable the reflective practitioner's creative enquiry and to integrate theory and praxis. Central to the making proces is the question "How might one..?" — using design as a means of observation, exploration, investigation, engagement, critique and participation (not an end in and of itself). Simona graduated as Bachelor of Graphic Design at the HKU (2009) and as Master of Design at the Sandberg Instituut Amsterdam (2011) with a project titled The Jetlag Society.
“For us, in imagination and in other practice, machines can be prosthetic devices, intimate components, friendly selves.”
- Donna Haraway
How might I combine collected knowledge and lived experience, using writing, imaging and embodiment? How might I create a performative act that results in greater understanding - and include the other in search for meaning? As part of the research I propose to (re-)contextualise the recurring promise of thinking machines surpassing human capabilities as an artistic enquiry. By (re-)framing the timeless impulse to create artificial life - as a creative act or a design brief - consider ways to act accordingly. The goal of my artistic research enquiry is to participate in critical dialogue with artists, designers, philosophers, media theorists, performers (and machines), who in some way use machine learning technology. To better understand the context and culture and discover new connections within the current discours. Can designers think of future scenarios in a modest way? What are artists and designers embracing new technology creating, experiencing, discovering and hoping? What are their methods?
Looking at vocabulary is a starting point in my proposal for an artistic research enquiry into our relationship to the thinking machines we dream of and the new mediation, estrangement, disembodiment and miscommunication that result from them. Collecting examples that describe human-machine relations and metaphors (language) of “cybernetic concepts". In addition, looking for examples of tools created to study and interact with non-human entities. The fields of media theory, media archeology, digital anthropology, philosophy of technology have so far provided an initial theoretical framework. Study body movement as a way to visualise and record video prototypes. Regular publication of prototypes (written, programmed, expressed) and their reflections as process documentation will be an essential part of my research.
Yotam Shibolet is a PhD candidate working under HKU’s interactive narrative design professorship, in collaboration with Utrecht University - where he recently graduated from the Media, Art and Performance RMA program and is now teaching bachelor’s level courses. Born and raised in Tel Aviv, he previously studied at the Marc Rich Honors Program in the Humanities and Arts at Tel Aviv university. Shibolet has a background in cinema, and is an avid practitioner of Contact Improvisation and other somatic research methods. He is interested in the shifting techniques and strategies by which humans form stories and meaning, and in their interconnections with embodied experience.
Narrative is viewed by a growing body of interdisciplinary work as an immanent medium through which humans interpret the world and their lives. Shibolet's point of departure is that in accordance, narrative interpretation should be situated within the space and time of lived experience, of being-in-interaction with the world. In order to achieve this, the traditional concept of narrative as an abstract structure actualized in a parallel space of conscious, reflective, 'higher-level' cognitive processing should be supplemented with a more immediate and phenomenological level of understanding narrative. At this level, narrative framing unfolds in interplay with embodied experience, directly informing and informed by our kinesthetic knowledge of movement dynamics and practical understanding of the world. In this scope, Shibolet's research project is concerned with constructing an initial theoretical framework that posits narrativity, the narrative quality of experience, as an embodied and enactive modality. This developing framework is highly interdisciplinary, and aims to integrate knowledge from phenomenology, embodied and enactive approaches to cognitive science, psychology, narratology and new-media research. The framework is primarily examined through the lens of interactive digital narrative media, where the spectator is positioned inside the ‘storyworld’ to become an interactor, and stories unfold through active navigation of environment. Embodied narrativity provides a potentially valuable conceptualization of how interactive narratives take shape in experience. Practice-based methods will be applied to further explore the narrativity of embodiment in interactive media, and map the resonances between the authoring of tangible movement dynamics in digital environments and narrative interpretation.
Brian de Lint
Brian de Lint is a narrative designer and researcher. He has a BA in Comparative Literature and an MA in New Media and Digital Culture (Utrecht University). His interest lies in the application of narrative techniques in interactive digital space, specifically as it pertains to videogames. He is particularly interested in the expression of complex emotions, and the notion of complexity in relation to interactive narrative. Currently he is working as a lead writer on a large scale videogame project and is also working on creating small interactive vignettes to explore the narrative potential of interactive digital narrative.
As a result of earlier research conducted at the HKU for a Research Internship, in which I together with fellow student researchers explored different narrative structures from all over the world, I came across a rich storytelling tradition I had never before taken notice of. In most of the literature that I explored on the topic of African storytelling traditions authors insisted on a cyclical structure being present within these stories. I was immediately intrigued, and though the more I searched, the more it seemed to me that this notion was self-referential, the idea of cyclicality as a storytelling method stuck with me. I got interested in the application of cyclicality to videogame narratives, because it seemed to me a natural fit. A medium that from its nascence has been fraught with repetition as a method of skill expression seemed to me a perfect fit for cyclical representation within its narrative elements. For this research I will be exploring more thoroughly different types of cyclical or repetitive narrative expressions, from theatre, to movies, to intsomi performances, and more, in order to uncover the potential of cyclical expression in videogame narrative.
Ninke Overbeek (1986) is a writer for the stage, a dramaturg and a teacher in creative writing. She was a member of ‘De Kosmonaut’; House for young writers/new writing between 2011 and 2014. She has written adaptations of literary works (Ulysses, Joyce and Karakter, Bordewijk), poems and several plays. She has published on creative writing for the theatre through the Professorship of Performative Processes (HKU) and her plays were published by the ITFB and Buitenkunst. Her work was performed at the Guildhall Graduates program by STET and has recently had theatrical readings in Mexico city, at UNAM University for the Dramatic Cicle for Female Writers. She is currently developing a performance piece in co-production with Het Vijfde Bedrijf and The Grey Space in The Hague. She has a BA in Theatre studies (University Utrecht) and in Writing for Performance (HKU University of the Arts Utrecht) and an MA in Comparative Cultural Analysis (University of Amsterdam).
In her artistic research project, she is interested in ways in which human beings use metaphor to share tacit knowledge (physical, social, emotional, subconscious). She wants to combine Bachelard’s ideas on poetic metaphor and reverberation, with recent research conducted on conceptual metaphor (Lakoff and Johnson). She wants to investigate conceptual metaphors that underlie our understanding of ‘being at home’. She assumes this concept of ‘being at home’ differs for different speech communities, and that investigating the differences in their use of conceptual metaphor can shine a light on what different speech-communities need in order to feel at home. She wants to investigate if specific creative writing strategies (guided freewriting, ficto-critical-, margin-writing-, the use of multivocality in performance texts, among others) of herself and others can be a tool to inaugurate, analyse and offer alternative perspectives on conceptual metaphors lying at the heart of the concept of ‘being at home’, in such a way that intercultural dialogues between different speech communities might benefit from it. Apart from the pragmatic possibilities that this research project might offer, she is interested in its philosophical implications.
Feri de Geus
Feri de Geus is a cultural anthropologist, choreographer and designer of intercultural training programmes. With his companies Coup d’Amour and Le Grand Cru he created over 75 choreographies in the Netherlands. Since 2000 he combines his background of anthropologist with his skills as choreographer to create intercultural productions and tailor-made-training programmes with and for non-western dance and theatre companies. His work concentrates on the intangible cultural heritage of dance, song and music which he combines with acquired skills of contemporary dance theatre. To create new meaning to an existing intangible cultural vocabulary through sampling: reorganising form and structure. His thematic research is based on a mapping method. Through a process of guiding assignments and improvisations cultural knowledge from personal to politics is revealed and gathered. Returning social issues are gender equality, (gender based) violence, democratization, reconciliation and modern slaves. His training programs focus on professionalization: technical skills to enhance performative and designing qualities with participants and on life skills through embodied cognition.
research will focus on processes of intercultural cooperation. I will
take some examples of my own practice and combine it with existing
literature on intercultural processes and experience of other artists
working in this field. Like most artists, I have my own style and
protocols to come to a product. Within intercultural cooperation there
is much more at stake. In fact it breaks the structure of protocols;
nothing is certain except the quest to learn, transfer, understand and
It is a complex, intuitive and flexible process of sending and receiving in which meaning is sought based on different cultural values. In my research the focus is on embodied cognition, instrumental learning and artistic autonomy versus social and cultural reality. The research must provide more insight into the challenges of intercultural artistic processes. Is it possible to make explicit what is implicit? Is the process of intercultural work transferable? My research is based on practical experience and is both descriptive (story telling) and analytic. How do I give meaning to forms that are understood by a local community? Does it also evoke resistance, how to recognize this and how to react to it? And what is the effect of transformative learning on both the artistic and personal domain of participants and how does the interaction between them and me proceed? I want to make the practiced embodied cultural knowledge accessible to others working in the field to gain insight in this intuitive and flexible process in a way that it can work as a guideline for others.