Research Catalogue

This "exposition" consists of a list with links to articles and texts written by Annette Arlander in online publications available on the web. For a full list of publications a pdf is attached.

In this exposition, I discuss the multimedia installation "Esparto, approached", to which I opened doors last May 10th, 2025, in Organo Hall, Helsinki Music Center. "Esparto, approached" is the first of a series of three installations representing the artistic component of my doctoral degree at the Sibelius Academy, Uniarts Helsinki. The research project in which this installation is contextualized is currently titled "Listening through remembrance: An autoethnography of presence in the age of disposability". In this artistic research, the notions of listening, remembering, and presence-making are interwoven in an attempt to understand how we confer meaning and value on things despite our embeddedness in a world of disposable nature, where things are susceptible to being quickly discarded, replaced, and, therefore, forgotten. This exposition opens up a space of reflection in the aftermath of "Esparto, approached". The installation represented a collective recall of the field practice that led me to search for signs of durability in abandoned contexts of my homeland in rural Southeastern Spain. This exposition poses the following questions about it: What happened? (Description); What does "what happened" mean? (Analysis); And, how does "what happened" keep happening now? (Further becomings). The objective of creating an online exposition right after the event is to open a window to the reflective process of this investigation before its completion, thus making visible its traces. The process itself is therefore turned into an accessible outcome that manifests the continual nature of the project as a whole.

a lesson in the shadows of death entangled moment of frozen fragments embodying sacred movements through air, body, mind, mattering, voicing as if NOTHING

‘Selective Retention: Composing through Queries and Graphs’ reflects on composing through software systems while focusing on reinterpreting musical materials through computational methods. The exposition examines two projects that utilise software tools as temporal portals, merging algorithms with composition to create new musical contexts. It highlights the evolving relationship between these tools and their source materials, emphasising a process of iterative approaches and adaptation. The text also explores the emergent nature of creative intention and the importance of addressing local details in sound and coded data. Within the exposition, software applications are exposed, the ideas behind them are discussed, and examples of music composed with them are presented. Download Accessible PDF

This exposition explores how different technologically mediated presentations of guitar sounds work as materials to form an acousmatic electroacoustic composition. By juxtaposing processed guitar recordings with computer-generated realizations of guitar sounds, this work considers how composition can be used to engage with changing interpretations of instrumentality and liveness that stem from new music technologies. This includes the notion that such concepts can be an integral part of a sound work that uses fixed media. Here, listening to the boundaries between real and virtual guitars is more than just a technical feature. It informs stylistic choices and references different genre trajectories in electroacoustic music. The featured piece, "Obsession", is used to discuss changing approaches to dealing with the abstraction of source material, hybridization, and algorithmic procedures as aspects of acousmatic music. Additionally, the piece serves as an investigation of the guitar as a unique electroacoustic instrument. Download Accessible PDF

The digital revolution is boosting innovations across our contemporary social life and culture with a strong impact in performing arts studies, creation and fruition. By exploiting augmented and virtual technologies and their cutting-edge applications, contemporary researchers, performers, composers and artists are spurred to renovate their traditional practices and creations, and overcome the boundaries of real stages towards virtual stages and extended reality (XR), where the physical encounters the digital. The possibility to be projected in the blended scenario of the extended reality (XR) and metaverse determines the avant-garde perspective of imagining music performance in hybrid stages where performers and audiences are involved in immersive and intriguing phygital experiences. This exposition wants to present and discuss what the investigation on augmented and virtual reality in artistic research in music entails, and how and why to create a XR music performance in the metaverse. The focus will be on my personal artistic research experience in the creation of a phygital piano performance "MetaPhase: A contrapuntal dialogue between a pianist and her avatar in the metaverse". Download Accessible PDF