Research Catalogue

A 2-part module by the MA Transdisciplinary Studies of ZHdK, Department Kulturanalysen und Vermittlung. Held by Anna Rubi & Eirini Sourgiadaki. Autumn 2023-Spring 2024 Colour perception varies, so do the semantics of colour terminology, for both sighted and blind individuals. The questions around colour perception from ophthalmology or neurobiology perspectives to cognitive and artistic ones, are infinite: Is there a universal human experience of the blue sky, the green grass and the brown soil? How is colour perceived in the brain, how is it translated into a communicable concept and how does it affect our perceived world, our mental and physical state? What is the role of colour in synesthesia? And most importantly, does colour have to do just with vision? In this module we work with the generation of blue colour on print, using the major light source available, the Sun. The Island of Amorgos is often referred to as “Le grand bleu” after the famous french film was shot at location. Its ancient name is “Melania”. “Melani”, the Greek word for ink, (“Melano” for dark blue, cyan) as it is said that in ancient times the place was covered with dark green flora. Our investigation begins exactly with this deep tint. We pay a visit to the famous monastery and the water oracle, walk the trails to observe the sensual -not only vision-based- shades of blue. In the spring term, we participate in local activities such as beach clean-up initiatives of the remote bays by local fishermen and their boats. We visit bee-hives and herb-distilleries, we work with the most basic bits and pieces of the island to capture its essence.

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

Thesis / Research Document of the Royal Academy of Art, The Hague, 2025 BA Interior Architecture and Furniture Design Summary (8968)

This research investigates the active role of light as a core compositional element in contemporary music performance by exploring the integration of light, sound, and movement in real-time environments. Traditionally, light has been treated as a secondary aspect of performance, primarily serving as a means of illumination or visual enhancement. However, this study examines how light can function beyond this conventional role, actively shaping musical structure and influencing perception. Through the analysis of live performances and hands-on experimentation with analogue oscillators, photoresistors, and DMX systems, this research explores how these elements function as both medium and material within a piece. My compositions, alongside works by composers such as Viola Yip and Hugo Morales Murguía, serve as case studies, illustrating light’s transformation in performance from a passive visual aid to a structural force. These works highlight how light, when treated as a compositional element, reconfigures performer agency and audience perception. By challenging conventional notions of light in music, this research contributes to ongoing discussions on multimedia composition and performance aesthetics. It proposes an alternative perspective in which light is not merely an accessory to sound but an integral component of musical structure, expanding the possibilities for interdisciplinary performance practice.

This research explores an interpretative approach to Dialogue de l’ombre double by Pierre Boulez, a key work in the contemporary clarinet repertoire. Motivated by my decision to perform this piece in my final master’s recital, the study goes beyond its technical demands to examine its historical context, Boulez’s compositional style, and the interaction between live clarinet and electronics. The research is structured around four objectives: contextualizing Boulez’s contributions to contemporary music, analyzing the structure of Dialogue de l’ombre double, developing an interpretative framework, and offering technical solutions. Following the introduction, Chapter 1 explores Boulez’s impact on contemporary music, particularly his use of electronics and spatialization. Chapter 2 provides a structural and musical analysis of the work, examining how its elements create a cohesive sonic narrative. Chapter 3 presents interpretative and technical strategies for engaging with the electronic part, focusing on phrasing, articulation, and dynamics. Chapter 4 offers practical solutions for technical challenges, including alternative fingerings and exercises for complex passages. Based on bibliographic research, recordings, discussions with clarinet professors, and personal experimentation, this study highlights how a deeper engagement with the score and Boulez’s stylistic intentions can lead to a more informed and compelling performance.

This exposition continues the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer today. Through a Q&A format, the project examines how contemporary creators integrate composition, production, performance, and technology into their artistic practice. This interview features Robot Koch, an award-winning composer, producer, and performer whose work spans electronic music, orchestral writing, and immersive audiovisual performance. Koch reflects on his hybrid identity as a creator, discussing the interplay between writing and production, the role of technology as an expressive tool, and the potential of spatial audio and immersive formats. The conversation also addresses the transformations of the music industry, the impact of artificial intelligence, and the importance of authenticity and craftsmanship in the creative process.