Research Catalogue

This exposition contains a database of materials resulting from the artistic research "Phytopoetic Creation: An artistic and ecological intervention", within my doctorate studies in Performance at the Department of Comunication and Art (DeCA) of University of Aveiro (UA), Portugal. As these results were mostly documented through video, audio and photographs, I decided to use this platform as a medium to share these moments that were central to this artistic research, also containing a published article. The form of relationship established between these materials, with mutual connection and sharing of information and resources, was similar to a network that was developed throughout this research, through practical experience and application. This network, here refered as "Plant Wide Web", contributed crucially to the creation of the final artistic product of this research, "Intertwined Paths: an embodied journey of connection with plants" (2024).

It Will Be Fine, is engaging in the language of visual representation through the combined mediums of painting, photography and artificial intelligence (Ai) together with images held in the Special Collection picture archive in Bergen. To reflect on the ways in which meaning and memory is constructed and conveyed through visual forms and knowledge systems.

This exposition reflects on how machine learning can be integrated with algorithmic composition and live coding to expand digital music creation. The research examines how ML-driven sound analysis, training data, and interactive models reshape compositional workflows. By viewing machine learning as an interpretative and generative process rather than a mere tool, this project challenges conventional boundaries between data gathering, system design, and artistic practice. The discussion is framed through experimental approaches that merge sound synthesis, live coding, and model training, questioning how algorithmic systems can act as both agents of composition and reflective mirrors of musical intention. Through the interplay of structured data, generative models, and exploratory workflows, the study situates machine learning within a broader conversation about creativity, computation, and the evolving role of the composer-programmer.

Russia’s war of aggression is a multidimensional process of conquest that expands its time and space through sound. As Russian forces continue their advance into Ukraine, seizing Ukrainian territories both “horizontally” and “vertically,” as warfare scholar Svitlana Matviyenko (2024) has argued, Ukrainians across the country find themselves living in the sonic expanse of Russian assault. This research paper refers to this experience as one of warbound, of a (sonically) lived relation to war. To explore this relation and situated relationality it may entail, I turn to the work of Ukrainian sound artists and practitioners who participated in collective audio streaming, seeking to recast the Ukrainian testimony of the Russian invasion as a contingent truth claim. The paper examines the 2022 iteration of the audio stream project Listen Live, constitutive to the Land To Return, Land To Care research-creation laboratory. The project is studied in the scope of its testimonial reach and activist pursuit, as well as its humanist and posthumanist performativity.

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