Research Catalogue

Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape. Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.

Unrealised design for garden house in North London, 2002. An unrealised house commission prompted my preoccupation with the question of creative value, which for architecture largely relates to the local economy. Similar to, but not quite the same as authorial or intellectual property rights, the question of creative value for writers is not connected to local economies, although it is determined to a certain degree by cultural values.

Design, 1995-96, 2023. Design, 1996-97. Photography, 2010, 2011. Essay, 2015. Collage Text, 2022. The exposition serves as commentary and guide on the place of art, in a gradually environmentally and technologically challenged world. The re-design proposal, inspired by De Stijl, illustrates the modernist historical view that art appears to be regressive, rather than progressive: as soon as a movement or a school becomes established, reaching its culmination, it starts declining. Finally, I have included a graduate school architectural design project in the archaeological site of Eleusis accompanied by new commentary. With essay about experimental film making in the British avant-garde, published in "Architecture and Culture" journal, 2015. About how to navigate this exposition: Scroll from top to bottom, then from bottom to top, then scroll to the top right, then scroll to the bottom right.

This research explores the concept of authenticity in transcription. It is applied to Béla Bartók's Six Dances in Bulgarian Rhythm, movements one, two and five. By prioritising different aspects, the overall look of the transcription is shaped. Examples of these aspects are the sonic possibilities of the chosen or original instrumentation, the general style of the composer and the piece, one's own musical context, the technical abilities of the players... All these aspects could be considered as a form of authenticity. The first chapter elaborates on the concept and discusses methods of transcription. The second chapter analyses the history of the classical guitar, including its transcriptions. The guitar's search for a place in the classical mainstream has encouraged guitarists throughout the centuries to write transcriptions. Throughout history, the concept of authenticity in these transcriptions has changed. The final chapter discusses the entire process of transcribing, from the intentions behind selecting the piece to the obstacles and dilemmas that arose during the process. It shows that the transcribing part is as important as the individual practice and rehearsals. They alternate and influence each other. The Six Dances in Bulgarian Rhythm were of great importance to Bartók. Today they are not as popular as his Six Romanian Folk Dances but given their historical context they deserve to be heard more in today's classical music scene. Finally, it becomes clear that the abstract musical idea of the composer should be kept clear from the beginning to the end of the transcription process.

The research entitled "Augmented Feedback", is focused on developing a compositional practice, centered around acoustic feedback processing in digital spaces. I wish to explore acoustic feedback that occurs in virtual spaces, including the hybrid world of physical and digital space and physical phenomena that occurs from the excitation of feedback through microphones and loudspeakers. I will focus on experiments, reflections, developing techniques and functions that I have discovered while composing and experimenting with pieces that have used processed acoustic feedback as sonic material, microphones and loudspeakers as instruments. The outcome will have brief background and development reflections about my approach to feedback around my personal compositional practice, the historical side of feedback and how it relates to the works of other composers and artists, technical and philosophical content of feedback in compositional situations, and how my compositional approach led me to the term “augmented feedback”. “What if the sonority of feedback was not the center focus point of a piece? What else can we develop by using feedback and imagining it in different sonic landscapes? What is the mystique of its nonlinearity? How can we deal with microphones and loudspeakers as a musical instrument through using software environments?” are the main questions that drove me into researching feedback. Dividing these questions into subcategories: conceptual and compositional.

Prelinguistic language and aphasia share common ground, both in theory as in practice. Approaching the two fields as a pool of information and even more as a metaphor for composing vocal – based music, opens up a new window of tools and potentials. This paper is a collection of concepts, originating from prelinguistic language, aphasia and from my general vocal composition practice. Application examples are given from my own work, for each of these concepts. These concepts are gathered together into one diagram, which eventually questions whether the playful deconstruction that creators often look for is a step forward or backwards in time. Eventually, the paper questions the use of existing texts in composition under the scope of Jungian theory.