Peter Peters published Eeuwige Jeugd: Een halve eeuw Stichting Gaudeamus (Donemus,1995), a history of post-war contemporary music in the Netherlands, and Time, Innovation and Mobilities (Routledge, 2006), in which he combines insights from social theory and science and technology studies to analyze cultures of travel. In 2008 he was appointed as professor in the research centre 'Autonomy and the public sphere in the Arts' of the arts faculties of Zuyd University, Maastricht. In his inaugural address Grensverkeer. Over praktijkonderzoek voor de kunsten, he critically considers the discourse on artistic research. His research topics are artistic research, new aesthetic spaces, site-specific art as context for engaged research, and art in relation to mobile worlds. More information and contacts may be found at: http://www.fdcw.unimaas.nl/staff/peters and http://aok.hszuyd.nl.

Selected publications
2010. Art as Dialogue. Interview with Angelo Vermeulen. In: Swinkels, L. and H. van den Elsen (eds). Interdisciplinary Arts. Maastricht: Hogeschool Zuyd.
2010. With K. Bijsterveld and K. Peters. Composing Claims on Musical Instrument Development: A Science and Technology Studies Contribution. Interdisciplinary Science Reviews, 35(2), pp. 106-122.
2010. With K. Bijsterveld. Muziekinstrumenten: Onderzoek op het gebied van innovatie en retro-innnovatie. Kunst en Wetenschap, 19, 3 (Herfst), pp. 13-14.
2009. Grensverkeer. Over praktijkonderzoek voor de kunsten. (Inaugurele rede lectoraat Autonomie en openbaarheid in de kunsten),
Maastricht: Hogeschool Zuyd.
2009. Retracing old organ sound. Authenticity and the structure of artistic arguments. Krisis, issue 1), pp. 5-19.
1998. Lopen in Schuberts Winterreise. In: Hollands Maandblad, 1998(6-7), pp. 5-13.
1995. Eeuwige jeugd: een halve eeuw Stichting Gaudeamus. Amsterdam: Donemus.
1995. Polyfonie van het lege land. In: Mens & Melodie: algemeen Nederlandsch maandblad voor muziek, 50/4, 248-255.
1994. Zoeken naar het ongehoorde. Twintig jaar Schönberg Ensemble. Amsterdam: It& FB
1994. Notenkrakers en de politiek. In: Mens & Melodie: algemeen Nederlandsch maandblad voor muziek, 49/11, pp. 610-617.
1994. Max Brand en zijn Zeitoper Maschinist Hopkins. In: Mens & Melodie: algemeen Nederlandsch maandblad voor muziek, 49/6, pp. 346-353.
1994. Reynaldo Hahn en Marcel Proust. In: Mens & Melodie: algemeen Nederlandsch maandblad voor muziek, 49/2, pp. 103-110.
1993. Terug naar de tonaliteit - De vernieuwing die Arnold Schönberg teweegbracht in de klassieke muziek lijkt op haar retour: moderne muziek mag weer mooi klinken. In: Intermediair: informatie voor leidinggevende functionarissen, 29(23), pp. 41-46.

The question arises how art and knowledge relate to each other. I propose to answer this question from a pragmatist view of knowledge. In this view, research starts if we face a problem. This is often a problem that does not comply with the usual repertoire of solutions. We must leave our routines behind and invent something new. In practice this amounts to trying out solutions and see what works well and why. Any research, including research in the arts, can thus be seen as a "reflexive conversation with the situation" as Donald Schön phrased it in his book The Reflective Practitioner. Just as a chess player is looking for the best continuation in a given position, so does the investigation of an artist relate to a concrete situation and the problems in it. Reasoning from this pragmatist conception of knowledge it is not advisable to start from a pre-given distinction between scientific and artistic research. Instead, we need to see art practices as reflective knowledge practices. The next step is to examine how these knowledge practices develop into, what we could call, epistemic situations. (Translated from Grensverkeer. Over praktijkonderzoek voor de kunsten, 2009)