Research Catalogue

Modo de trabalhar no projeto coletivo na plataforma RC: Owner do projeto de grupo é a Carolina, todos os outros são co-autores.

Modo de trabalhar no projeto coletivo na plataforma RC: Owner do projeto de grupo é o Rodrigo, todos os outros são co-autores.

Sculpted and painted wood, combined with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures, 2020. Digital drawings, 2021, 2023. Dutch steel sailing boat part-restoration and renovation, Amsterdam (with Sean A. Hladkyj), 2019-20. Relief and improvised sculptures made with industrial paints, as well as found objects, were exposed to weather conditions, including heavy rain and wind, over a few months on a floating timber raft. Working with the changes the weather was causing to the ad hoc studio, I made changes until the painting was finished, photographed, then dumped. The relief was collected. I applied the colours from those available in a symbolic manner, abstracting the view of a ghetto in a large city. The objects stand for the landmarks. The pieces would comprise of the scenography for a theatre performance, informed by my conversations with a theatre lighting technician. The event would also include a donation event of the art objects. See external link for the theatre play, based on the tradition of the philosophical dialogue and employing the idea of performing philosophy to make it accessible to a wider audience. Political asylum has been traditionally offered to people who flee from their countries of origin and citizenship, because of violations of their dignity, which is a human right, for their political beliefs and related activities. Currently, seven human rights of mine, five basic, have been infringed in the United Kingdom, where I have been a citizen since 2011; the origin is my native Greece. Political asylum is only offered to people, who are non-citizens of the country where asylum is sought from. At the same time, political asylum has become harder to offer, due to the global nature of persecution of whoever is perceived as a dissident. Since 2020, Forza Nuova, the Italian affiliate of the Greek Golden Dawn, has participated in the organised international criminal case, of which I have been the target, originating from my native Greece, "accelerating" in the Netherlands and the UK in 2020, Covid-19. Notably, Roberto Fiore, Forza Nuova's leader, inherited briefly Alessandra Mussolini's post in the EU parliament. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique; a suggestion for alternative, autonomous lifestyles; and a performative metaphor for global refugees.

This exposition details the opening phase of new research between an experimental sound artist and an archaeologist, with a detailed examination of critical epistemological questions that have arisen from the beginning of this project. Both collaborating researchers are situated within hybrid specialisations. As the project unfolds, archaeo-chemical data is explored and animated through methods developed from intersections of data science and musical practice, resulting in performance and installation environments in which knowledge of material culture of the ancient past may be made present through listening. However, beyond a case study, this exposition points to how interdisciplinary artistic work produces results that have value outside of normative paradigms for any of the fields from which it is derived, while offering critical insight about those fields. This exposition is formed of these insights. Readers are introduced to the structure of the data, its relationship to the materiality of the artefacts described, the technological apparatus and compositional methodology through which the data is sonified, and the new materiality of the resulting artistic experiences. Sonification exists at a nexus of sound production and listening, interwoven with information. Meaning and interpretations arise from artistic decisions concerning sound composition and the context for listening to take place. Meanwhile, listening teaches us about data and about the physical and cultural spaces into which we project it. In this way, sonification is always already interdisciplinary.

What is the sound of disability? What is the sound of a body that defies and resists normative standards? And further, is disability an instrument and, ultimately, virtuosity itself? For me, these have been everlasting questions. I acquired a disability at the age of seven from a car accident that impaired my left hand. Following the accident, I transitioned from various musical instruments to find one I could adapt to. More recently, this has led to engaging with various music technologies that fit my body. Specifically, I am searching for an instrument that fits rather than resists my body and signals my disability as an asset rather than a deficit in searching for my own virtuosity. Therefore, this article details my interest in reimagining virtuosity through the intersection of disability and digital music technology. I will describe my experience with the MUGIC gestural device (developed by Mari Kimura) and preliminary results from experimenting with the MUGIC. I will include background on the crux of virtuosity and the usefulness of mapping for reimagining virtuosity, as well as musical results and concluding thoughts regarding virtuosity, music technology, and disability. Lastly, I will argue that “cripping” virtuosity involves a widening understanding of what virtuosity can signify, realize, and magnify, cultivating what is curious, authentic, and at the core of art-making -- a fundamental self-expression beyond comparison and not easily replicated and a virtuosity true to oneself.

In this thesis, having introduced my research questions, in Chapter 2 I present a layered analysis of the important contexts of my practice—walking, sound, walking poetry, and place. In Chapter 3 I present and discuss three works that together explore how it is that I know the world as a sensate embodied walker. In Chapter 4 I develop what I came to call replicated walks—walks made more than once in the same place. Begun in order to re-configure time, they also led me to extend my consideration of place beyond that defined by geography, to place defined by biological phenomena or socio-cultural coherence. In Chapter 5 I describe my emerging ideas of human-scale of place and my underlying ideas of island-ness. Initially I worked on real islands, walking circumferential routes and those defined by chance procedures. From this I developed an imaginary island in the foothills of Northumberland’s Cheviot Hills; made from the human-scale of my embodied walking this led to my creation of an imaginary pandemic island of containment, created in a city, in my locale, made, and made real, by the traces of my embodied walking. Together my works constitute a body of work that represents a contribution to knowledge with specific contributions of: the use of Replicated Walks as a method of experimenting with time and place; Walking Words – the presentation of poetic text in forms (concertina-fold books, scripta continua, scrolls) that requires walking to engage with it, and that also function as metonyms for my original walking act; Walking Islands –the use of human-scale walking to imagine an island into existence, and then invoke the island as a lens through which to continue to pursue the idea. My work also contributes knowledge to the methods of how to record the sounds of the world whilst walking through it, over extended distances and time.