Research Catalogue

This exposition reflects on how machine learning can be integrated with algorithmic composition and live coding to expand digital music creation. The research examines how ML-driven sound analysis, training data, and interactive models reshape compositional workflows. By viewing machine learning as an interpretative and generative process rather than a mere tool, this project challenges conventional boundaries between data gathering, system design, and artistic practice. The discussion is framed through experimental approaches that merge sound synthesis, live coding, and model training, questioning how algorithmic systems can act as both agents of composition and reflective mirrors of musical intention. Through the interplay of structured data, generative models, and exploratory workflows, the study situates machine learning within a broader conversation about creativity, computation, and the evolving role of the composer-programmer.

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This research was conducted with a diverse group of dancers, varying in age, background, and dance experience, and was guided through somatic embodiment and artistic articulation. Through a somatic approach, the body was explored as both an archive of lived experience and an oracle for emergent knowledge, offering a strong gateway into authentic dance material. The creative process unfolded through four phases: somatic exploration and improvisation, composition, structuring, and refinement. Throughout, leadership shifted fluidly between an open, facilitative mode, amplifying the dancers’ voices, and a more directive mode, articulating the artistic vision. The methodology highlights how initial somatic explorations were gradually shaped into choreographic form, maintaining a dialogue between internal embodiment and external composition throughout the process. Key insights include that this process proved particularly effective within a diverse group context, demonstrating that, regardless of formal dance training, each individual, when guided somatically, can access embodied memory and, through compositional shaping, transform authentic movement into coherent choreographic structure. Both the research and the resulting performance, Equilibrium, do not seek to offer resolution, but rather to evoke recognition and the possibility of coexisting with tension.

The right to have or not to have a religion is a basic human right. Ensuring disbelievers have the same and equal rights with all the citizens of the world – with or without a particular religious inclination – would require globalized legal and cultural structures.

This Exposition is a brief ironic comment on the ongoing degradation, commodification, and colonisation of food and its many dimensions — recipes, ingredients, context — and a reflection on the territorial definitions that shape identity, in this case of South Asians and the Global South, once bound together as a people and still united in the brieftopian world of the Author’s Greatest Biryani: an amalgamative dish of political and cultural reproductions, drenched in time, where old and new contest identity. Through a conversational, autoethnographic lens, the exposition blends historical, colonial, and territorial reflections, using Biryani as both departure point and metaphor for shared identity and dislocation. Visual collages — archival, familial, and sourced — act as probes connecting memory, culture, and belonging. Ultimately, the work offers the Author’s Greatest Biryani as a living document of generational knowledge and a utopian gesture, inviting both insiders and outsiders to gather around a dish transcending borders and time.

There are moments within a performance where destruction and deviation from reality allow an alternative scenario to reveal itself. I argue that these moments can be called ‘brieftopic’, fleeting glimpses into a possible future (Behzad Khosravi Noori, 2024). But what are the connections between reality, deviation and alternative scenario? How can this brieftopia, which materializes for brief moments within a performative event, reverberate outside of it, propagating at a social and political level? During the site-specific improvisation series [in situ], it became evident to me that this brieftopia is tied to an artist’s relinquishment of control, leading to a decentralization of the performance. By introducing the case study, specifically the [in situ] performance held in September 2023 at the Maremma National Park, we will see how unforeseen, unpredictable, and non-linear interactions between myself, the audience, and the non-human components of the ecosystem in which we were immersed, shaped the performance itself, steering it in an unexpected direction and removing it from the continuum of artistic intention, audience perception, and everyday life reflection. In this brieftopia, in a sense, it is existence itself that is reduced to rubble, not for the love of rubble, but for the way out that passes through it, paraphrasing Walter Benjamin.