Research Catalogue

How can dance and music, an art rich of history and a recent practice, the living body and digital immateriality communicate with each other? This project explores these questions through a live electronics performance in interaction with Odissi dance, one of the eight classical Indian dance forms. The performance combines fixed and improvised elements, fostering a dynamic interplay where music sometimes leads the dance and at other times responds to it. The work mirrors the traditional Odissi performance arc while reinterpreting it through a contemporary Western compositional lens. The sound material is created using SuperCollider, a code-based music synthesis platform. Algorithmic processes govern parameters such as duration, pitch, and amplitude, while real-time interventions are performed via a MIDI controller, enabling a fluid and reactive sonic environment. Several collaborative experiments inform the project’s development. Conducted both remotely and in-person, they involved exchanging musical sketches and choreographic responses, fostering a conceptual understanding of each other's creative processes, and enabled immediate feedback and improvisatory interaction, revealing how abstract sound gestures are interpreted by the dancer as vivid metaphors of natural phenomena through the expressive language of mudra. This project embraces the idea that meaning in performance does not pre-exist but rather emerges through the interweaving of gesture, sound, attention, and relational space. Rather than seeking fixed correspondences between music and dance, the collaboration foregrounds the instability and fluidity of sense-making as a shared experiential process. Movement and sound co-construct each other in the moment, guided by intuition, somatic listening, and a continuous negotiation of presence. In this light, the work becomes less about illustrating pre-defined narratives and more about cultivating a living texture of interaction—an evolving field where different temporalities, traditions, and sensitivities resonate and transform one another. Informed by Andrée Grau’s insights in Intercultural Research in the Performing Arts (1992), this project also approaches collaboration not as a neutral meeting ground but as a space charged with cultural histories and asymmetries of knowledge. Grau urges us to move beyond celebratory notions of “fusion” and to critically examine how traditions are represented, adapted, and negotiated in performance. In this light, the work does not seek to erase difference but to hold it in tension, encouraging a space where both artists remain grounded in their respective practices while allowing mutual transformation to occur. Rather than simplifying or assimilating Odissi into a Western framework, the collaboration is framed as an encounter—sometimes smooth, sometimes resistant—that reflects the complex, evolving nature of intercultural exchange. Here, meaning is not given but co-constructed through attention, respect, and a willingness to remain in the discomfort of not fully understanding. Bibliography Grau, A. (1992). Intercultural research in the performing arts: A critical review. Edinburgh University Press. Jayadeva. Gītagovinda. Tr. Giuliano Boccali (1982). Adelphi. Cassio, F. (2000). Percorsi della voce. Storia e tecniche esecutive del canto dhrupad nella musica classica dell'India del nord. Ut Orpheus Edizioni. Frödin, K. Unander-Scharin, Å. (2024). FRAGMENTE2. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=2045845 Frisk, H. (2025). Sound intuition. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=3025541 Giordano, S. The emerging sense. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=1220694

This video essay explores the sacred landscapes of Delphi and Delos, studying their historical significance as a centres of female knowledge, through embodied, intuitive, and affective engagement. Thinking about Ada Lovelace’s notion of poetical science, the site visits seek to trace the contextual and geographical roots of this concept. The film approaches knowledge as a sensuous, relational and embodied process, one that resists dominant rationalist and technocentric paradigms. The voiceover, recorded in Greece, threads reflections from Hélène Cixous’s The Laugh of the Medusa (1976), Karen Barad’s Diffracting Diffraction (2014), and Sasha Biro’s The Oracle as Intermediary (2022) from Otherwise Than Binary, New Feminist Readings in Ancient Philosophy and Culture Decker, J.E., Layne, D.A. and Vilhauer, M. (2022). Through these situated readings, the film proposes curating research and thinking through place as not merely interpretive but performative: an intra-active practice between self, site, and matter. The work explores myth and reverie, positioning the body in context as instrument. It proposes an expanded curatorial methodology rooted in presence, sensual attention, and poetic science - where intuition is included, and the landscape is approached as co-creator.

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Throughout our musical history, many female composers’ figures and legacies have always remained overshadowed in the male-dominated realm of 19th- and 20th-century music. Eugenia S. Osterberger (1852–1932) is one of them: a remarkable and overlooked Galician composer who blended Galician and Spanish traditional music with European academic styles. This research aims to shed light on Osterberger's life and work by performing her compositions with my instrument addressing the central question: “How can I share it engagingly with the audience?”. To carry out this project, the methodology involves a literature review of Eugenia’s context, story, and compositions; archive fieldwork to find the scores; the process of arranging and adapting her music for oboe or English horn; identification of Galician and Spanish folklore footprints and other styles in her pieces; and revision of tools for engaging audience. The culmination of this research will be to have all the essential tools to be able to create a performance that combines narration and music to bring Osterberger's legacy to life, making the audience enjoy and connect with my emotional engagement and with the composer. In addition, it is intended to make a new contribution to the repertoire for oboe and English horn and raise awareness of under-represented voices in music history, which may inspire others to rediscover forgotten composers.

Editorial of the inaugural edition of ARJAZZ Journal for Artistic Research in Jazz (May, 2025)

This exposition contains the complete artistic output and accompanying reflective documentation of the artistic research doctoral project I conducted at the University of Music and Performing Arts Vienna between 2021 and 2024. Free improvisation in music offers a unique field for exploring how artistic practices develop through embodied engagement, critical reflection, and collaborative experimentation. This research focuses particularly on the process of practicing within this context, tracing the evolution of specific exercises and preparatory methods. These were initially tested in collaborative projects with other musicians and later refined through a series of workshops. A central theme that emerged throughout this process is the role of reflection—both musical and verbal—as a vital component of artistic development. This realization culminated in the project Performing Reflection, which established a dialogical relationship between musical improvisation and reflective discourse. The work contributes to a deeper understanding of how structured exercises and reflective practices can support and expand the art of free improvisation, offering new perspectives on its preparation, pedagogy, and performance.