Research Catalogue

"New ideas might be conceived and developed more rapidly in disciplines that are more abstract. The inductive methods of experimental innovators in painting makes their enterprise resemble the more empirical disciplines considered by psychologists, while the deductive approach of the conceptual innovators makes theirs resemble the more abstract disciplines." David W. Galenson, "The Life Cycles of Modern Artists", NBER Working Paper Series, 2003. My use of the diagram and the image aims to convey the simple message that art strives for evolution; meaning to strengthen the mind, to research capabilities, to communicate a disinterested, though not necessarily apolitical, view of social changes, to overcome banality and offer an alternative way of looking at the world. The profile picture is myself at nineteen years old.

Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material. The exposition exposes the question of what is artistic research. Usurping the essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system. Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued.

On February 19th 2024 took place the 2nd seminar, "Illustrating the absence" of the project "[in]visible - [in]visibility of identities in Portuguese 1st-grade elementary textbooks of Social & Environmental Studies after 1974", at the Faculty of Fine Arts of the University of Porto (Portugal). For the reflection, illustration and critical analysis of the illustration works, there was the participation of the Master's in Illustration, Edition and Print students with the illustrator Júlio Dolbeth and the [in]visible team. Cristina Ferreira and Margarida Dias took the photos, and the session was recorded with audio.

Prelinguistic language and aphasia share common ground, both in theory as in practice. Approaching the two fields as a pool of information and even more as a metaphor for composing vocal – based music, opens up a new window of tools and potentials. This paper is a collection of concepts, originating from prelinguistic language, aphasia and from my general vocal composition practice. Application examples are given from my own work, for each of these concepts. These concepts are gathered together into one diagram, which eventually questions whether the playful deconstruction that creators often look for is a step forward or backwards in time. Eventually, the paper questions the use of existing texts in composition under the scope of Jungian theory.

vAImpir: AI as a vampiric tool. //publication-artifact// The vAImpir project (виипир) takes as its starting point AI as an axis of self-reflection: on the one hand, as a tool for content expansion and artistic exploration, and on the other, as a tool that parasites with representations of the historical biases that accumulate in the databases within the framework of the digital humanities, and that in some way describe the current moment, in which the understanding of the world unfolds on a digital interface where authorship is diluted. A reflection-action from diffusion models on the narrow margins that separate the space of reality and the space of fiction. This project is contextually fed by the work Vampir-Cuadecuc (Pere Portabella, 1970).

As musicians, we work in a variety of different spaces, some of which are unfamiliar and with their own dynamics. But in order to be as productive as possible, we have internalized the notion that, particularly as performers, we must keep our personal and professional lives apart. In my personal case, after moving to the Netherlands to begin my master's program and finding myself without a place to live, I became aware of how much this circumstance affected my playing. Despite the initial negative impact of the situation, I was able to see potential for an artistic endeavor, leading me to embark on the creation of an interdisciplinary piece titled "The space we are in" – a composition for amplified viola, tape, and video – in an attempt to materialize the feelings and thoughts surrounding my personal situation. In this study, I documented each stage of the artistic development process, alongside an analysis exploring the philosophical and psychological connotations of the concept of space, and contrasting it with the idea of place. Additionally, I delved into intriguing concepts such as Kathleen Coessens' artistic web of practice and examined various artistic works where the interaction with space plays a significant role. While working on this project, I discovered a specific interaction with my environment that not only helped me adjust to my new living situation but also –and this is something that I hope to share with the readers of this research– increased my sensitivity and helped me comprehend my artistic vision.