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.

The video is part of artistic research that explores a dialogue between human, non-human, and forces of the land in Utsjoki, Finland. In this artistic research, walking is used as a method to connect with the environment. During the walks, small amounts of soil – sand, stones, and clay – is gathered and processed further in a studio. Some soil is transformed to slips and used when painting hand-built vases made from the gathered clay. The fired vases are placed temporarily in local rivers. The result is a series of three vase experiments done in a dialogue between human, soil, water, and the forces of the land. The video presents the third vase experiment, where the vase is built from the local clay. The motifs of the painting are the nationally endangered animals: arctic fox, fell owl and glacial salmon. In the River Teno catchment, small juvenile salmon often spend some of their first years of life in tiny tributaries, which they enter from their birth place, the spawning areas in the main stem of the river. One of these nursery streams being Geassemahjohka. The vase is positioned in Geassemahjohka, which is running to the main stem of the River Teno some 70 km upstream from the estuary. Via the experiment we speculate: can act of crafting vase be conceived as act of caring, the vase being thus a symbolic shelter for the salmon?

Despite knowing that music and emotions have a lot to do with each other, sometimes it is hard to articulate which relationship they have. Since the emotional impact seems to be one of the biggest appeals for an audience, do we, the musicians (specifically the performers), pay and draw enough attention to it? After reviewing the relevant literature about the processing of emotions, I came across the philosophical approaches of emotions in and through music by Peter Kivy, Jerrold Levinson, and Stephen Davies, proposals that could serve as inspirations for an audience and for performers. Then, I decided to carry out a series of experimental sessions to test the impact of these three approaches, as well as the performer's role, and components that could also affect a performance, such as set-ups, musical manipulations, or what I have called 'extramusical' items or elements. In addition to my research question “How can a performer affect or manipulate the emotional engagement of an audience?”, I sought to explore another inquiry. Is engaging more with the public nowadays strictly a musical matter?

There are good reasons to consider point of audition (POA) as a problematic term when writing about sound. This essay addresses the different challenges one meets when using the term and discusses different alternatives for future use of this terminology within the field of television sound. The motivation for rethinking the term is the analytical and descriptive problems raised when writing about recent trends in television sound in drama, sports, news, documentaries and other television genres. The argumentation refers to the flexible and creative uses of television sound today and discusses how various production examples can be better accounted for by refining the term point of audition. All in all, four categories of point of audition are suggested for analysis: observational, active, individual and personal POAs.