At the same time concept and symptom, subject and poros, sensation and metaphor, dizziness as unpredictable motion is apt to reshape, but its motion requires a spacetime to unfold, creating what philosopher Karoline Feyertag and we have come to call a compossible space. The compossible space is an actual and theoretical spacetime, a situation and condition, that allows for confusing what had seemed clear and separated, akin to poros that philosopher Sarah Kofman describes as this expanse devoid of all contours, of all landmarks. French philosopher François Jullien speaks of it by means of the metaphor of a sluice chamber, as spacetime for con-fusing (fusing with each other, from the Latin origins of the word), for fusing disparate, conflicting and even mutually exclusive elements.

The theory of the compossible space is set into action not only in the practice of exhibition making to create an experience that Eilean Hooper-Greenhill, Professor of Museum Studies, expressed with this motto: When I came in I was confused, when I came out I was full of ideas. Making this initial confusion fertile for new ideas and viewpoints is also central for the artistic practice of   HASENHERZ or the Pleasures of the Moving Image and Word. HASENHERZ is both a work of art and an instrument for examining artworks and appropriates Arnold Schönberg’s approach for his Society of Private Musical Practice (1918). Between iterated performances or screenings a conversation between the artist and the audience is initiated that encourages a polysemic approach to the understanding of the presented artwork. It's collective practice trains what British poet John Keats called Negative Capability, as the ability to endure the vagueness and uncertainty of staying open to the confusing, different, even incomprehensible aspects of artworks, thoughts and ideas.

In the context of the on-going arts-based research, so-called HASENHERZ sessions are planned to expand the current format by inviting experts into the discussion and use the format for collective arts-based knowledge formation, transforming it into an arts-based research tool. Moreover, the sessions will widen the artistic media used to date by including literature, performances, performance-lectures, and dance.