Research Catalogue

In this exposition, I discuss the multimedia installation "Esparto, approached", to which I opened doors last May 10th, 2025, in Organo Hall, Helsinki Music Center. "Esparto, approached" is the first of a series of three installations representing the artistic component of my doctoral degree at the Sibelius Academy, Uniarts Helsinki. The research project in which this installation is contextualized is currently titled "Listening through remembrance: An autoethnography of presence in the age of disposability". In this artistic research, the notions of listening, remembering, and presence-making are interwoven in an attempt to understand how we confer meaning and value on things despite our embeddedness in a world of disposable nature, where things are susceptible to being quickly discarded, replaced, and, therefore, forgotten. This exposition opens up a space of reflection in the aftermath of "Esparto, approached". The installation represented a collective recall of the field practice that led me to search for signs of durability in abandoned contexts of my homeland in rural Southeastern Spain. This exposition poses the following questions about it: What happened? (Description); What does "what happened" mean? (Analysis); And, how does "what happened" keep happening now? (Further becomings). The objective of creating an online exposition right after the event is to open a window to the reflective process of this investigation before its completion, thus making visible its traces. The process itself is therefore turned into an accessible outcome that manifests the continual nature of the project as a whole.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

The group acts as an open and inclusive formation for artist-researchers who share an interest and practice in working with sound. The group is committed to the indispensable action of encouraging and supporting personas of all diversity to participate and join in the collective exploration in and through sound, sensing and amplifying the heard, unheard as well as the overheard. As a collective the group welcomes contributors who are willing and eager to share their idea and practices, think collectively and are interested in shaping a emancipatory sonic futurism.

What if failure is not collapse but recalibration? This research reconsiders seismic activity as a speculative site of vibratory instability, adjustment, and relational tension, rather than disaster. Drawing on seismic data from the most significant Romanian earthquakes between 1977 and 2023, the project translates magnitudes into an immersive sound installation that renders the inaudible perceptible through algorithmic processing and low-frequency vibration. The resulting sonic environment invites discomfort and disorientation as productive states, reframing failure as a mode through which we may interpret stability itself differently. The work draws from Merleau-Ponty’s phenomenology, Jung’s archetypal theory, Bohm’s field theory, Deleuze’s pataphysics, Priest’s aesthetics of failure, and Eshun’s sonic fiction to position seismic resonance as a speculative and unstable threshold between sensing and knowing. Rather than presuming to represent the Earth’s voice, the installation critically engages with the ethical implications of translating geophysical data into sound, acknowledging the gaps, distortions, and interpretive acts involved. Instead of breakdown, failure becomes a condition of listening – one that resists mastery and opens a dialogue between human and more-than-human temporalities through sonic practice.

This exposition explores the paradox of rendering visible a research that seeks to remain unseen. It examines concealment, obfuscation, and selective disclosure as strategies of resistance and protection, questioning the ethics and politics of visibility in academic and artistic inquiry. Absence, silence, and ambiguity are explored as ways of invoking presence, challenging dominant paradigms of transparency and access, and proposing alternative modes of engaging with hidden or fugitive research. Central to this inquiry is the operatic prompter, an unseen presence that feeds lines to the performer, ensuring continuity while remaining hidden. The prompter’s role complicates the link between knowledge and articulation, shaping the performance without claiming authorship. Like other fugitive voices in history, the prompter embodies a marginal agency, whispering from the wings.

Gestaltology Encoded is an experimental research article in the form of an exposition, centered around the development of an artificial organism, Arcana, coming to life through the artistic research project Gestaltology (2020–2023). The project aims to explore AI and robotics in a way that challenges Cartesian dualism, by investigating the interplay between mind, body, and environment. By engaging a transdisciplinary team, the project delves into evolutionary biology, AI, and robotics, creating an artificial organism that evolves through symbiosis with its environment. Arcana’s artistic process, rooted in these conditions, emerges through its ability to create visual outputs that transcend human-centric perspectives. This research proposes a posthuman approach to AI development, emphasizing an ecocentric and performative perspective that reshapes the relationship between technology, art, and ecology. The article reflects on the project's iterative nature, where failure is viewed as an inevitable and creative catalyst, guiding the project toward unforeseen futures.