Research Catalogue

An analitical overview over some key works from Stravinsky with the goal of selecting few elements that can help my compositional journey.

This exposition emerged from my participation in the second interval of the Simultaneous Arrivals (Simularr) Artistic Research Project—a research project inviting international artist-researchers to explore relational, situated, and process-based inquiries in dialogue with core researchers. Core researchers: Nayari Castillo, Hanns Holger Rutz, Franziska Hederer, and Daniele Pozzi. For the second interval, the visual artist and researcher Elena Radaelli and I were invited as visiting artist-researchers. (More information on Simultaneous Arrivals: https://simularr.net/about/) The exposition presents my process during the residency, i.e. my Traces and Paths Towards a Singularly-Plural Companionships. The eight-week residency (3 March-30 April 2024) took place across three sites: Graz (Austria); Lecce, San Cesario (Italy); and Klagenfurt (Austria). The exposition traces this journey through various mediums, including texts, graphics, video and audio material experiments, field encounters, and theoretical companions. My processes, are informed and shaped by my companion collaborators—human (research-creation companions), more-than-human, textual, and material—who co-inform and co-create the unfolding of the research.

This retrospective study examines past collaborations between composer Miguelangel Clerc Parada and choreographer Pedro Goucha Gomes, using the choreography Butterfly Hips as a focal point. Noise is approached as an analytical tool to investigate interdisciplinary methods within the collaboration. The study aims to trace relationships between actants as streams of information, meaning, and physical or sensory elements. It questions whether emergent instances of noise can be identified through the mapping of these relationships. This exposition is part of my retrospective research for the project "Problematizing Interdisciplinary Performance through Noise", developed within the CORPoREAL research group at the Royal Conservatory of Antwerp.

The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape was a human-pulled carriage journey that re-envisioned the eighteenth-century traverse of the picturesque landscape, the subject-objectification of the view, and the imperialistic impulse behind the voyage pittoresque. This artistic experiment visually, kinaesthetically, and performatively explored the transformation from landscape to image that formed the basis of modern perception, as part of the colonial legacy inherent within the picturesque view. The Grand Tour carriage was pulled by human labour, evidencing the forced labour economy that impelled the European Enlightenment, while demonstrating in human terms, the use, abuse, and commodification of human and non-human animals. The Grand Tour proceeded from Binche to Brussels to Antwerp, Belgium in 2022. The Grand Tour experiment investigated the eighteenth-century picturesque gaze, which travelled unchecked over the landscape in industrialised Europe, a harbinger of the annexation and enclosure of land that had been commonly owned, traditionally used, or publicly accessible, while portending the colonisation of lands abroad. The picturesque gaze, an imperialist mechanism, still fragments the landscape, excising two-dimensional pictures from the three-dimensional world around us, a vestige and augur of the destruction of lands, cultures, and peoples. Shifting between early modern and contemporary perception, The Grand Tour bisected space and time in a cleaving manoeuvre, creating new fault lines in which multiple planes of space-time might co-exist. This experiment tested whether a new neo-picturesque framework could be forged in a dimension of space-time that alters according to the perception and orientation of the traverser, casting contingent new imaginaries into physical and psychic realms where they may or may not become realities, according to Arno Böhler’s philosophy as artistic research approach (2019). This experiment envisaged a plurality that did not exist in the eighteenth century but may have already been limned in its myriad contradicting, contrasting, and diverging modes of sensing and experiencing the world around us in a relational and now relative notion of space-time. Download Accessible PDF

This exhibition presents an investigation into the folk music and dance practice polska, involving a group of Swedish folk musicians and dancers. The investigation employs optical motion capture (mocap) to explore interactive music and dance performances and create innovative artistic expressions by merging traditional practices with contemporary media technology. As a musician working closely with the dancers he plays for, the author explores ways to mediate dance through the sonification and visualisation of movement data. The focus is on the fundamental connection between sound and movement in this performance practice, particularly showcased in the project's centrepiece, Dancing Dots. Documentations of this and other works included in the exhibition present live music and dance with sonic and visual displays derived from mocap data, asking how such multi-modal mediations can facilitate understanding of the interplay between movement and music and open new avenues for artistic expression in this folk music practice. The use of optical motion capture is contextualised as a means of mediating music-dance through narrow streams of movement data, and the exposition introduces a web tool for accessible sonification of folk dance. The exposition applies music and dance theoretical concepts in designing the movement mediations, examines their relevance in an artistic context, and grounds the results in a practice-based understanding of the rhythmic/metric framework of the Swedish polska. Download Accessible PDF

Improvising Time is a practice-led research project investigating embodied temporality in the performance of solo dance improvisation. It explores two temporal concepts in Japanese Noh theatre — the sequencing concept of jo-ha-kyū 序破急 and the notion of ma 間, defined as interval — investigating how jo-ha-kyū and ma can be embodied for the temporal organization of solo dance performance when improvised before an audience. Grounded in praxis where theory is imbricated in practice, Noh performance theory is brought into a dynamic interaction with the fundamental theory of time in physics and a phenomenological approach to intersubjectivity. Using a multi-voice dialogic approach as a key methodology, the studio research examines the experience of improvisation from both sides — as improviser and as watcher — in collaboration with solo dance practitioner Janette Hoe. The research shows how, in the act of improvising, an embodied temporality of the improviser is created not only by an awareness of embodied processes but also by the potentiality of unknown improvisational material. Culminating in a major project, Solo Dialogue (2021), the research proposes a new framework of embodied temporality offering an insight into how improvisation can be temporally shaped and organized by prioritizing attentiveness and attunement to diversify performance material and enhance the intersubjective experience between improviser and audience. Download Accessible PDF