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.

This research is rooted in nihilism, exploring how the contrast between materiality and spirituality leads to an uncomfortable way of percieving existence. What does it mean to be unable to believe in "what's beyond"? What role does the body play in such an issue? The starting point is a deeply philosophical debate. Through art and numerous attempts it tries to unravel itself.

Sheila Jordan, an important female singer in the history of jazz vocals, and an exploration of her life and musical characteristics.

This visual essay explores images generated through AI-based expansion of a simple photographic composition. Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there. The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.

In a world saturated with sonic and social noise, this project positions listening as a deliberate, ethical, and relational practice. Through a series of interdisciplinary performances and compositions, I investigate how improvisation and spatial acoustics can cultivate human connection, challenge perceptual norms, and activate space as a responsive collaborator. Drawing on theories from acoustic ecology, performance studies, and architecture, particularly the work of Beatriz Colomina, Paulina Oliveros, Blesser and Salter, I explore how environments shape musical communication and identity. Improvisation functions not only as a musical technique, but also as a method of social engagement and shared authorship. This research embraces openness, embodiment, and collective presence as central to how music is created, perceived, and lived.

As a tourist in London during the late 17th century, it was mandatory to visit the House of Bedlam, the biggest mental institution in the city. The patients, being considered completely unreasonable, were attributed animalic characteristics, which was reflected in the brutal treatment behind the bars. The ultimate mirroring of the culture of exposing madness could be found in the theatre. Composers for the theatre, in wanting to explore the inability of reason in humanity, wrote The Mad Songs, where the madness is reflected in quick shifts in emotions. These songs have been my tool to gain access to a broader palette of expression in singing. I have developed a handbook of historically informed techniques and documented my process of embodying them, using sources such as Le Brun's "Conférence (...)" (1698); Walter Charleton's "Natural History of the Passions" (1701); Aaron Hill's "The Art of Acting" (1753); and George Vandenhoff's "The Art of Elocution" (1846). My quest for madness has also become a quest for genuinity. When Charles Le Brun conveyed his theory of expression on canvas, he strongly distinguished the difference between painting tense muscles and painting genuine expression. This has become a guideline for my research: in order to gain genuinity, one has to channel a reaction and produce an impulse. This study is an attempt to bridge the gap between now and then, allowing for a deeper understanding of the Mad Songs, as well as encouraging others to dive into theatrical repertoire on its own premises.