Research Catalogue

This page welcomes newcomers from Fontys to engage with the Research Catalogue. (For Fontys Master students & Staff only)

Each technology exerts a change in the acoustic environment. The development of mobile phones has expanded the space-time limits of sound and the ability to interfere in the forms of socialization and relationship with places. In addition to reproducing the voice, these devices promote multilayer listening that adds ringtones, notifications, alerts, and any sound generated by applications or accessible through the Internet. This research aims to study contemporary listening mediated by mobile phones, analyzing the disruptive effect generated by their sounds and listening through loudspeakers or buzzer speakers, technical means that articulate sonorities, and acoustic perceptions that limit information and add noise. The methodology used is hybrid. It focuses mainly on Arts-Based Research with experimental practices that explore techniques, materials, and media, as well as qualitative methods that provide points of view and opinions, fieldwork recording sounds, and pedagogy toward designing strategies that encourage other listening perspectives. The results materialize in pieces and panels in the form of installations that show different models of mobile phone loudspeakers, highlighting their aesthetic, technical, and symbolic aspects. The panel contains loudspeakers placed on sound-absorbing acoustic foam, and the listening sound soundscapes as maps that connect to the idea of the typical sound diversity of these devices (activated by sensors or buttons). Among other topics, the work deals with the archeology of the media and the precarious sounds that extend low-fidelity listening.

CONFERENCE, UNIVERSITY OF PORTO. October 16, 17, 18th, 2024 :: Drawing Across :: Along :: Between University Borders considers the epistemological and transformative potential of drawing research to connect divergent areas in the university today. The conference focuses on drawing-based collaborations between art, science and society to tackle artistic, educational and societal challenges. We invite artists, scientists, educators, students, university policymakers and persons interested in inter-transdisciplinary practices across academia, research, and society to contribute and join the discussion in three possible directions: ACROSS - In what ways are drawing practitioners challenging the disciplinary strictures that often constrain thinking and acting across divergent areas in the university? ALONG - How can drawing activities be an ally of STEM education in the university, and how can STEM practices be an ally of drawing education? BETWEEN - How can drawing-based practices and STEM disciplines collaborate to address the urgency of societal challenges?

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.

vAImpir: AI as a vampiric tool. //publication-artifact// The vAImpir project (виипир) takes as its starting point AI as an axis of self-reflection: on the one hand, as a tool for content expansion and artistic exploration, and on the other, as a tool that parasites with representations of the historical biases that accumulate in the databases within the framework of the digital humanities, and that in some way describe the current moment, in which the understanding of the world unfolds on a digital interface where authorship is diluted. A reflection-action from diffusion models on the narrow margins that separate the space of reality and the space of fiction. This project is contextually fed by the work Vampir-Cuadecuc (Pere Portabella, 1970).