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).

This exposition forms part of the research project exploring the often-overlooked sensory and material facets of photographic production, challenging the traditional focus solely on the visual aspect of photographs. The research questions the prevailing view that understanding photography is limited to analysing the final image, suggesting instead that the process of making a photograph—its production in real-world environments such as laboratories, factories, and manufacturing spaces—holds equal aesthetic significance. The aim is twofold: to redirect attention to processes of photographic making, exploring the aesthetic dimension beyond the photograph itself, and to examine how this shift influences the overall understanding of photographic practice. Employing practice-based research across diverse photographic settings, this study uncovers the aesthetic nuances of C-type printing processes, including the tensioning, fogging, and tearing of photosensitive paper. It adopts an event-centric viewpoint, moving beyond the visual to explore multisensory handlings—listening, touching, and feeling—that are integral to photographic production, and acknowledges the contributions of more-than-human agency in photographic making. This approach allows for a multi-modal presentation of findings, combining traditional written analysis with experiential expositions to highlight the importance of non-visual outputs in photographic making.

Egna låtar All musik spelas av OH.

Despite knowing that music and emotions have a lot to do with each other, sometimes it is hard to articulate which relationship they have. Since the emotional impact seems to be one of the biggest appeals for an audience, do we, the musicians (specifically the performers), pay and draw enough attention to it? After reviewing the relevant literature about the processing of emotions, I came across the philosophical approaches of emotions in and through music by Peter Kivy, Jerrold Levinson, and Stephen Davies, proposals that could serve as inspirations for an audience and for performers. Then, I decided to carry out a series of experimental sessions to test the impact of these three approaches, as well as the performer's role, and components that could also affect a performance, such as set-ups, musical manipulations, or what I have called 'extramusical' items or elements. In addition to my research question “How can a performer affect or manipulate the emotional engagement of an audience?”, I sought to explore another inquiry. Is engaging more with the public nowadays strictly a musical matter?

There are good reasons to consider point of audition (POA) as a problematic term when writing about sound. This essay addresses the different challenges one meets when using the term and discusses different alternatives for future use of this terminology within the field of television sound. The motivation for rethinking the term is the analytical and descriptive problems raised when writing about recent trends in television sound in drama, sports, news, documentaries and other television genres. The argumentation refers to the flexible and creative uses of television sound today and discusses how various production examples can be better accounted for by refining the term point of audition. All in all, four categories of point of audition are suggested for analysis: observational, active, individual and personal POAs.

The Cloak of Longing has been involved in conference keynote, public and university pastoral occasions. At the heart of my research practice is a desire to liberate capacities of expressivity via a processual use intuitive material vitality. This contingent radical empiricism regards the communication model's need for pre-given therefore-ness as potentially occluding of capacities to work with matter flow – a characteristic of a cosmos of nonhuman agency inside which a performative intra-relational understanding emerges.