Research Catalogue

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.

“Something” still taking from a vignette, with a running time 05:04. A reading by a reader, accompanied by a moving image vignette, features a page-turner, recorded by the recorder. 2022. The introduction to Elle Reynolds' PhD 2024.

A moving image essay in three parts.

ES: ¿Existe un enfoque, principio o disposición de la investigación artística que dé unidad a los elementos heterogéneos que la conforman (diferentes procedencias disciplinares y enfoques epistemológicos) y le confiera carácter propio? Ese proceder, se propone aquí, es el especulativo. Desde la danza y mediante ejercicios coreográficos, se quiere hallar descripción de lo que sería una especulación estética, aquella que consideraría al acto de creación como parte del proceso del pensar. Con tal propósito, se desarrolla una propuesta acerca del amor y, específicamente, el eros, entendido como disposición frente a lo que se quiere investigar; añadiendo que esta disposición es también la fuerza que reúne todos los aspectos de la investigación. La acción especulativa estética sería el proceder investigativo del amor que une la dimensión poiética (creativa-imaginativa) y la gnoseológica en la investigación en las artes. EN: Is there an approach, principle or disposition of artistic research that gives unity to the heterogeneous elements that comprise it (different disciplinary origins and epistemological approaches) and gives it its own character? This procedure, it is proposed here, is speculative. From dance and through choreographic exercises, we seek to find a description of what would be an aesthetic speculation, one that would consider the act of creation as part of the thinking process. To this end, a proposal is developed about love and, specifically, eros, understood as a disposition towards what we want to investigate; adding that this disposition is also the force that brings together all aspects of research. The aesthetic speculative action would be the investigative procedure of love that unites the poietic (creative-imaginative) and gnoseological dimensions in research in the arts. Download Accessible PDF

The concept of non-hierarchical collaboration in score-based music offers a new perspective on the score and the instrument as distinct agents within the creative process. This case study, based on my co-creative collaboration with composer Francisco Corthey, explores how my relationship with the instrument – and other experiential factors – shaped the development of the composition, addressed ethical questions surrounding collaboration, and contributed to the production of musical meaning in a work presented to me as a notated score. By sharing control over musical parameters with my instrument and body – and by deliberately unlearning aspects of my instrumental technique – I aimed to cultivate a practice specific to this work, one that treats the musical composition as a site- and context-responsive event. This approach led me to examine how elements such as performance context, venue, and audience affect the emergence of meaning and inform my evolving performance strategies, through processes of responsiveness and an awareness of fragility as a generative force. Several of these reflections are gathered in the Shared Space model – an ongoing artistic experiment that explores inclusive, responsive practices within concert settings. Download Accessible PDF

‘Selective Retention: Composing through Queries and Graphs’ reflects on composing through software systems while focusing on reinterpreting musical materials through computational methods. The exposition examines two projects that utilise software tools as temporal portals, merging algorithms with composition to create new musical contexts. It highlights the evolving relationship between these tools and their source materials, emphasising a process of iterative approaches and adaptation. The text also explores the emergent nature of creative intention and the importance of addressing local details in sound and coded data. Within the exposition, software applications are exposed, the ideas behind them are discussed, and examples of music composed with them are presented. Download Accessible PDF