Research Catalogue

This research is an advanced research of Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective in 2024. I explore post feminist theory from a new perspective in the 21st century. Thereby I deal with spatiality between virtual reality and physical space theoretically and practically. Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.

Can an acoustic grand piano be sonically and conceptually reimagined so as to re-negotiate its foundational assumptions around tuning and timbre? Why should the piano continue to be so accustomed to only one tuning system? In contrast, how can “pure sounds” (ratios found in the harmonic series) co-exist with ethnically diverse microtonal tunings? Spanning a period from 2020-2022, “Unburying, from Liminals, Emerging” explores a microtonal prepared piano in three artistic contexts. These include: a solo project called “Postcards of Nostalgia; a chamber ensemble consisting of saxophone trio, percussion and piano; and a “percussion ensemble with soprano saxophone called Juniper Fuse. Dialoging with a newly invented tuning system, what emergent properties might we find when magnetic piano preparations are used to evoke specific timbral effects from Balinese Gamelan and Indian Karnatik music? Collectively, how can this expanded notion of “piano” merge with spatialization to facilitate interactive experiences for audiences? How might a process-oriented Jungian-inspired dream work communicate itself so as to distill and coalesce a fertile musical landscape?

Este projeto nasceu de um desconforto antigo, mas só encontrou forma quando o corpo — finalmente — começou a falar. Um corpo que, por anos, foi moldado pela obediência, pela culpa, pela contenção. Um corpo que serviu mais para agradar do que para existir. O Corpo que Nunca Foi não é apenas uma instalação visual. É uma travessia. Cada moldura carrega fragmentos de uma história interrompida, silenciada, violentada — mas que, ao ser contada, transforma-se em matéria de resistência. As peças não são ilustrações da dor. São gestos de enfrentamento. São corpos simbólicos criados a partir de camadas de memória, de experiências vividas, de feridas abertas e cicatrizes malformadas. Há nelas vestígios de abandono, de fuga, de abuso, de ausência de proteção. Mas há também outra coisa: o impulso de continuar. O espaço onde as obras habitam — um ambiente branco, forrado como uma câmara asséptica — não é um lugar de pureza. É o contrário: é o lugar onde tudo o que foi considerado “sujo”, “impróprio”, “mentira” ganha finalmente forma e voz. Neste quarto simbólico, o que antes era invisível torna-se presença. O projeto parte de histórias profundamente pessoais, mas oferece um espelho onde outras mulheres possam reconhecer as suas próprias trajetórias — sem medo, sem vergonha, sem a culpa herdada de séculos de silêncio. Aqui, a arte não quer consolar. Quer escancarar o que foi escondido, nomear o que foi abafado, e abrir espaço para outras existências possíveis. Mais do que um processo de cura, este projeto é um rito de insurgência contra os mecanismos que perpetuam a dor como destino. Aqui, a matéria ferida se ergue como discurso.

During the early weeks of the Gezi Park Protests in the summer of 2013, the Turkish government banned gatherings in Taksim Square. One man, however, stood alone in front of the Ataturk Cultural Centre (AKM), one of the symptoms around the never-ending events and culture wars, with the police around, obviously "obeying" the ban on gatherings. He instantly went viral on the internet: The Standing Man (Duran Adam), reminiscent of an unknown 1950s Hollywood melodrama The Man Who Stood There, while others began to stand "alone" nearby, but not exactly in the legally described form of an assembly or public gathering. As such, only the man's name was mythified and not the other participants'.

Meet the Yunani is my mix-up audio-visual-inscriptive artwork for the Unani or Yunani systems of medicine that are deployed in medical fraud. I deploy cognitive philosophy, art and science in this webart for the real settings of scientific hoaxes, the illusions concealed through prescribed fictions, and represented as the real. A mix-up audio-visual-inscriptive artwork for the Yunani, often touted as a "traditional" and "holistic" approach to health and well-being. In truth, the various versions of deploying Unani in medicine is inothing more than a parascientific hoax perpetrated by those aiming to capitalize on the growing demand for "alternative" and “natural” remedies. Unani (یونانی) is simply a rebranding of the Perso-Arabic medical traditions, which in turn were heavily influenced by the teachings of the ancient Greek physician Hippocrates, who, while pioneering advances in the human anatomy and physiology, also promoted a flawed model of the human body and health based on the concept of the four humours - blood, phlegm, yellow bile, and black bile. Unani practitioners of the Perso-Arabic medical traditional medicine, accompanied by Judeo-Hellenic adaptations represented with the neoplatonistic tree of life sefirot (סְפִירוֹת / σφαίρα), Greek humours or "doṣas" (दोष) from the Ayurvedic medicine claim to have inherited this ancient Greek wisdom. In truth they have merely taken these outdated and disproven theories, given them an exotic-sounding name, and presented them as traditional wisdom. Unani's diagnostic methods and treatment approaches, from bloodletting to the use of arcane herbal concoctions, lack scientific bases and were thoroughly debunked by modern medical research. The allure of this “ancient wisdom”, however, continues to draw those in need of alternative healthcare, without knowing that they are falling victim to a sophisticated marketing ploy masquerading as traditional medicine. The Unani's mystical trappings are nothing more than a pseudoscientific hoax rooted in long-refuted Greek four humour theory.

Data Ocean Theatre (D.O.T.) is a four-year artistic research project that explores the intersection of myths, Western theatre memory, new media, digital animism, climate emergency, sea and ocean transformations, queer subcultures, and technological mutations in relation to aspects of “submersion” as a contemporary living condition. Expanding on the claimed unsustainability of Western theatre’s anthropocentric foundations, D.O.T. examines how the notion and practice of the stage transform amidst climate urgency, technological hypergrowth, and discipline-fluid hybridization. It seeks to generate experiments on a new temporal ecology of the stage, examining how theatre-making infrastructures might transition within a multi-agential dynamic of emergence. D.O.T. appears, disappears, and reappears through a series of polymorphic artworks and research affordances based on the ecodramaturgical consideration of the simultaneous phenomenon of 1. the rising sea and ocean levels, 2. the exponential growth of big data in our informational age, and 3. the emotional overload caused by the latter two happening, projection, and prophecy. D.O.T. explores inherited sea-and-ocean-oriented myths and revisits theatre plays with a marine backdrop, looking simultaneously into contemporary nautical vocabulary and sea imagery used as metaphors for computational realities. D.O.T. proposes to re-mythologise Western theatre foundations by forming an alternative pantheon for a queer, hydrofeminist, and technoanimist reset of the “tragic,” at the interplay between a syncretic marine mythology and the ambiguities of “technology-as-monster” narratives. In D.O.T. project, the forces and fragilities of transforming marine ecosystems intersect with algorithmic-conditioned life and crossbreeding of diverse art disciplines and research fields based on collaborations, generating imaginary prototypes for future societal constructions in the floods. D.O.T. is structured around several key components: the prologue Simultaneous Environments, featuring a series of experimental works; the central project Tragedy and the Goddexxes, which culminates in three public exhibitions; and a series of workshops, residencies, and a final publication in the form of an exposition on the Research Catalogue. This final publication of the DATA OCEAN THEATRE postdoctoral artistic research project (2021–2024) titled 'DATA OCEAN THEATRE (OUT OF THE BLUE); A Discipline-Fluid Postdoctoral Artistic Research Project Exposition' performs on the Research Catalogue as both an aesthetico-epistemic object in its own right and as an a posteriori account, or catalogue raisonné, of the project. It also acts as a supplement to the author's doctoral publication, Reacclimating the Stage (Skenomorphoses), completing the latter to form a diptych on the Research Catalogue. Similar to the doctoral publication, the non-linear, non-hierarchical, and non-chronological reading, or hyper-reading, of Data Ocean Theatre (Out of the Blue) invites its visitors to navigate freely and compose their own fluid, archipelagic, and tidal experience to make sense of the project as a whole.