Mirka Duijn is a filmmaker working on documentary, interactive, experimental and sometimes fiction projects. She started her career in 2004 at broadcasting station VPRO Digital/3VOOR12 where she experimented with interactive and pervasive media for web and TV. In 2008 she decided to focus on directing completely. She developed Land of Change (2013), a documentary revolving around questions about collective memory and cultural heritage, and interactive documentaries Last Hijack Interactive (2015, w. Femke Wolting, Tommy Pallotta) and The Industry (2018), which explores resp. piracy in Somalia, and the illicit drug industry in the Netherlands. At the moment she works on Shangri-La, Paradise under Construction, a feature length documentary on the political and cultural impact of the tourist-gaze on Tibetan China, which is part of her PhD research. Mirka’s work often explores questions around the tension between fact and fiction, real and fake.
Research"When it comes to believing things without actual evidence, we all incline to what we find most attractive.” - James Hilton, Lost Horizon
We live in a time in which rhetorics about fake news, the death of facts and even ‘the collapse of reality’ prevail. Big statements, that, I think, can worsen the conditions they describe. Proclaiming the ungraspable untruthfulness of the present lifts the burdens of action and belief. As a documentary maker, concerned with ‘representing reality’, I think it is more important than ever to be the one who critically and actively seeks to engage in a sphere of representation beyond – or even in opposition to – mass media and its dynamics. This research thus revolves around questions around the ethics involved in the representation of reality and sub-sequential interaction with/appropriation of the image, both within the practice of filming as well as when working with archival footage. Being a documentary maker, this research starts from within cinematic practice, thinking through images and sounds, using the cinema practice both as a conceptual framework and a methodological vehicle. However: this empirical research is closely connected to theories about representation from film theory as well as cultural anthropology and philosophy of science (Ariella Azoulay, Bruno Latour). In this context two films will be developed: Shangri-La, Paradise under Construction, in which the possible political and cultural influence of the tourist-gaze and filmmakers-gaze on a Tibetan village in Tibet are explored. Second: a home bound project involving merely historical, archival footage.
YiLing Hung is a designer, performing artist, maker and researcher. She has started her own studio Laboratelier since 2016. YiLing holds a BA in Architecture and an MA degree in Arts in Scenography. The interaction among people in space is one of the topics that fascinates her a lot. One of her performing artworks It is moving on / It is vanishing (2018), a performing act in public space, is a good example of her interests on practice and research. This work also won the prize from Popup Festival Ede 2018. After years of being in both design and artistic sectors as an independent practitioner/researcher, she is currently part of Professorship in Performative Creative Processes at HKU University of the Arts Utrecht, researching the performativity in everyday life.
As we find ourselves living in a globalizing society where people move from one cultural environment into another, cultural clashes are happening. The newcomers will go through a process of cultural adaptation after relocating themselves. My main research question explores the relationship between the awareness of performativity in everyday life and the process of cultural adaptation of Chinese-speaking expatriates in the Netherlands. When a person is trying to adapt him- or herself into a new environment, he or she switches among various roles (e.g. observer, imitator, actor), and this role-changing influences their interaction with the surrounding environment. Will the expatriates stop switching roles eventually? Does that mean they are fully adapted into the new country?I believe this PhD research can contribute to individuals for self-reflecting on their relations with surroundings and to private or civil institutions which involves with expatriates for their decision making on program content, spatial design and policy making.
Sytze Schalk is an award-winning Dutch playwright, (social) game designer and transmedia producer. After graduating from the 'Writing in Performance' school at the Utrecht School of Arts he worked as an independent playwright, scriptwriter and teacher on several Dutch and international productions.
He has worked at the National Theatre Studios in London and the Royal Dutch Theatre. His play 'Tal's Country' was performed on the Croatian radio. Since 2015, his main focus is on developing the project 'Shatterland', a transmedia storyworld based around social themes for young adults, which comes alive in interactive theatre shows, gaming, literature and illustrations. For his work on the Shatterland project, he was awarded the Dutch Wim Bary Stipendium for exceptional young art talent in 2017. Apart from his work as a writer and designer, he is also a teacher and researcher in narrative design at the Utrecht School of Arts. In 2018 he will start his PHD research into interactive narrative design and performance at the Utrecht School of Art.
Over the last decade there has been a growth of theatre practitioners who are experimenting with techniques and theories from the world of gaming and interactive narrative design (IND). By doing this, they are building upon a long theatrical tradition of audience participation and interactivity within the performance space. What's new here however, is that these works explicitly reference the paradigms and language of modern gaming and IND. Simultaneously, with the advent of new digital techniques such as AR and VR, the idea of the digital space as a performative space has gained further traction. As of yet though, there is a dearth of up-to-date research on the impact of IND and its methods of representing complexity on the narrative experience of the audience in the performance space on the one hand, and the growing importance of theatrical codes and methods within the digital domain on the other hand. With this research, I hope to contribute to the cross-examination of these vibrant new forms and ideas.
Martijn Simons is a researcher, consultant and coach at Vilans, National Centre of Expertise for long term care in the Netherlands. He has a MA in Critical Management Studies (University of Humanistic Studies) and philosophy (University of Amsterdam. His interest is in interorganizational and interdisciplinary collaboration and practices of good work in long term care. Moving between everyday practices and theories he develops interventions with the professionals he works with. At the professorship Art and Professionalisation at HKU University of the Arts Utrecht he focuses on the way consultants can strengthen professional development with artistic qualities like ‘narrating’, ‘creating’ and ‘acting’.
Research(Inter)organizational and interdisciplinary collaboration processes in long term care are happening in a highly protocolized and rigid context of quality measurements and control. At the same time interdisciplinary collaboration asks for improvisation, professional qualities and intuitive knowledge, especially in crisis situations. When we consider interorganizational and interdisciplinary collaboration as a dialogical creative process it is important to have professional qualities that go beyond measured quality. These qualities are more closely connected to practices of good work (Gardner) and ideas about narrating (homo narrans), play (homo ludens), and making (homo faber). The research focuses on the co-creative process of making interdisciplinary collaborations work and the contribution of narrating, creating and acting to this process. The central question in this research is: How can acts of making contribute to good work in processes of interorganizational and interdisciplinary collaboration in long term elderly healthcare? This research aims to contribute to the theoretical framework of the concept of making and good work and contribute to improve practices of interorganizational and interdisciplinary collaboration through acts of making. Which interventions can be made or done to encourage making in interorganizational and interdisciplinary collaboration? What is the role and position of a consultant in this process?
Linda Valkeman (1984) is a research-based designer who straddles the interface of design and anthropology.
Linda is always on the move, vibrant and curious, observing the daily world around her. Defining herself as a 'Material Teller', she aims to explore how the meaning of objects, styles and aesthetic forms change over time and space. Her multidisciplinary work studies the cultural dimensions of globalisation. Consumption patterns, material migration and neo colonialism are subjects that influence or appear in her work.
Linda is continuously in search of alternative fluid (fashion) systems with potential to shape future aesthetic patterns and consumption. Formally educated as a fashion designer, she always “functioned” around the fringes of Fashion and Textiles; exploring shapes, incorporating the foreground and background of this multiform discipline in her projects.
Human scale modalities and narratives play an important role in her processes. This sits alongside her fascination with the impact of habitual (ritual) behaviours on peoples’ bodies, materials, objects and their surrounding spaces. An anthropological approach coupled with a keen interest in the contextual process is a recurring theme in her work.
‘One man’s trash is another man’s treasure’
Or should we say‘One man’s food is another man’s poison’
Western clothing donations are responsible for a booming second hand industry across Africa. The impacts are diverse, overwhelming, and inspiring but they raise questions too. The Dutch perception of donating second hand clothing is seen as a positive solution - the donor helps the poor and avoids clothing going to Waste/Landfills. However, unbeknownst or “not” communicated is what really happens to the donated second hand clothing. What kind of impact does the ‘donated’ clothing have on the people who receive it?
Obroni Wawu also known as Dead White Men’s Clothing is a multi-media research project exploring the life of second hand clothing material in accordance with past, present and future global perspectives in the context of Accra (GH) and Amsterdam (NL). After observing secondhand clothing in the streets and markets of Accra for years, Linda began this research in 2017 to learn more about how the “used” clothing trade functions and to better understand the social, environmental and economic implications of this industry.
To Linda second hand clothing continues to offer the possibilities of exchange, crossing borders to meet with new design ideas that provide valuable opportunities. She also believes that solutions must be discussed and explored between the sender of second hand clothing and the receivers, at a micro and macro level.
To emphasize this assertion, she combines forces and perspectives to enrich the dialogue on clothing donation by including cross-cultural perspectives. Her research is informed by collaborations with Ghanaian and Dutch citizens, amongst them, market Traders, Consumers, Designers, Artists, Retailers, Importers, etc. With this research she wants to provide insights, trigger thoughts and start a dialogue on clothing donation & consumption.
Besides acting as a course leader at Image & Media Technology at HKU-Media, Lenno Verhoog is a developer of games and learning activities. He actively contributes to the education of reflective practitioners and of designerly ways of thinking with a special focus on interactive narrative design and visual literacy.Previously Lenno studied applied arts at WDKA (Ba 1999) and worked at V2_lab as a media designer, where he contributed to a wide range of projects on data visualisation; interactive installations; online applications; and the Dutch Electronic Art Festival (DEAF). In 2016 he successfully finished the master Education in Arts (MEd) with a practice-based research project on Playful Learning Experiences.
As a result of the experiences and revelations in a previous research program into creative practices, I aim to combine the subjects of game theory with that of creative practices and Artistic Research in order to create a product that in itself serves as a canvas or toolkit for other’ makers’. This practice based research project will focus on the various episodes and stages in the artist’s process resulting in a toolkit with which the maker(artist) will be able to explicate her practice and use of methodologies. My assumption is that - by applying game design-principles - makers will be able to further demystify their creative process and contribute to the discours on artistic research from a ‘practical making’ point of view.
Marloeke van der Vlugt
Marloeke van der Vlugt is a Dutch artist and researcher. She graduated – cum laude - at the University of Amsterdam on a ‘practice based research project’ about the relation between space, movement and body (interrelated thesis and performance). She studied Scenography at Goldsmith’s Academy and Choreography at the Laban Center, both based in London. At DasArts (Amsterdam School of the Arts), she specialised herself, assembling theoretical and hands-on knowledge on the relationship between body and technology. She now works as an autonomous artist and director of multidisciplinary interactive, performative installations that research our embodied relationship with technology. Marloeke is currently affiliated as a tutor with the HKU University of the Arts Utrecht and as a researcher with HKU Research Centre Performative Processes. In 2015 the book Performance as Interface|Interface as Performance was released: a personal reflection on six years of artistic practice, in which she explores her living in a technology driven, networked world and its impact on the body.
ResearchMy area of research revolves around touch(ing) bodies (animated and inanimated) in relation to (haptic) technology. I regard Touch(ing), both the actual act of touching and getting touched, as opening up or narrowing down the ‘space – in – between’. This can be seen as a metaphorical concept based on formal knowledge, while - as science has shown us - we are actually unable to really touch someone or something. In other words, touch(ing) is always space-in-between, a fluid, queer space that by nature can’t be closed, formalised or fixed.
However, the space-in-between becomes political and commercialised as our body gets disciplined and trained through repeated interactions with haptic technologies (like the mobile phone), that express and enact normative models of bodily users, changing morals and ethical voices. How this interaction is (re)shaping our sensation of touch and subsequently influence our selfimage are key questions in this research. The underlying motivation is to define artistic strategies that focus on touch(ing) as space-in-between in order to create awareness of our perception differences and to trigger and reveal new imageries of future interactions.A live experiental set up as method is necessary while my work is interactive and needs an audience to take action, to perform, to finish the work. It facilitates the participant to overcome the sort of interaction in which body and technology are seen as two separate unities, and surrender to what Barad calls ‘intra action’, where knowledge is fluid and constantly changing in the moment.
Joris Weijdom is researcher and designer of mixed-reality experiences focusing on interdisciplinary creative processes and performativity. He founded the Media and Performance Laboratory (MAPLAB), enabling from 2012 until 2015 practice-led artistic research on the intersection of performance, media and technology. Currently he researches creative processes in collaborative mixed reality environments (CMRE) as a leader of the the researchgroup Embodied Immersive Learning at the Professorship Performative Processes and teaches several BA and MA courses at the HKU University of the Arts Utrecht.
ResearchCollaborative mixed-reality environments (CMRE) enable creative and learning processes through full-body interaction with spatially mediated ideas and concepts. Engineers utilize CMRE technologies to support their design processes but lack creative improvisation skills that artists employ to invent and innovate. This research studies the impact of artistic structured improvisation techniques (ASIT) in CMREs on engineering design education aiming to stimulate invention and innovation in an early stage of the process. The project combines theory and practice from the performing arts, human-computer interaction (HCI) and engineering to develop CMRE configurations, strategies for its creative implementation and an embodied immersive learning (EmIL) pedagogy.