Research Catalogue

Transmutations seeks to redefine the term transformation through a staged concert — a concert conceived as a work of art in itself. The traditional concert format and conventional performance practices are showing signs of stagnation, thus calling for the emergence of a voice adapted to this transformation. The boundaries of music, especially within the classical realm, have gradually blurred in recent times. Increasingly, artists are exploring the concert as a form of expression that not only integrates other artistic disciplines but also embraces technological advancements. This approach challenges traditional aesthetic conventions and the notion of genre and musical style. The omnipresence of technology in contemporary society underlines the need for research that explores the many possibilities of the concert format. This staged concert aims to redefine the concept of transformation by avoiding any stylistic boundaries. The works of Richard Strauss, John Cage, and Alexander Schubert are included not only for their artistic value but also for their contribution to the very notion of transformation.

Artistic research project: "Resisting Gentrification: In-situ Performative Protests in Trešnjevka Neighborhood"

My Bachelor's project investigates the spellbinding Sufi music practices by questioning and comparing its origins and traditions in two culturally significant locations: Syria and Morocco. It is interesting in the various but spiritually connected manner of two prominent Sufi orders—the Qadiri Boutchichi Tarika in Morocco and the Naqshbandi Tarika in Syria. These orders not only serve as spiritual guides but also play a central role in preserving and disseminating the unique art of Sufi music. This artistic research consisted of different steps. I interviewed two Sufi musicians, the first one from Morocco and the second one from Damascus. The questions were focused on the differences and the similarities between the two cultures, instruments, melodies, and rhythm. I studied Sufi music from Arabic sources as well, so I had to translate many important historical facts, taking into account the ethics of the research. I relied on my musical background in this research as part of the Syrian Sufi music and on my tours during Sufi music festivals, where I met Sufi musicians from different countries. Being a seasoned Sufi music practitioner myself, I tried to add a personal touch to this work based on my experience. I found many cultural differences between the two Sufi music styles, but I found many similarities at the same time. Two countries in different places far from each other have wide cultural diversities, but the same rhythm is the key to making the conversation with the divine. Dhikr is a mutual element as well, even though it has some special details related to the geographical region. Keywords: Sufism, Sufi music, Morocco, Damascus, Universal, History

Petromusicality. On the Sonic Culture of (Plastic) Material and Beyond explores the fossil fuel-based history of music media, focusing on vinyl records and their environmental impact. This Audio Paper examines historical production processes, material consumption, and the resurgence of vinyl culture. Through artistic research projects and expert perspectives, it discusses the political and ethical dimensions of sound reproduction. By highlighting sustainable alternatives and exploring the connections between extraction, mass production, and materiality, the study encourages a deeper engagement with the physical aspects of sound and their global implications.

This essay postulates a novel notion of the sound image that – rather than conceiving it as an artefact, a visual surrogate or an exclusively mental entity – defines it as an instance of a process or an operation, unfolding within material circuits, technical infrastructures, and collective protocols. Based upon the image theory developed by Gilbert Simondon in his book Imagination and Invention, this notion enables an account of the variable nature of the audible in a post-anthropocentric context as intrinsic to the forms in which sensorial engagement takes places in singular material constellations.

This video essay discusses how contemporary artists might directly address some of the philosophical and political challenges of a material approach to instrumentality through creative practice. I present and discuss the practical approaches taken by musicians who create and collaborate with instruments as a central part of their work: Khabat Abas and Sam Underwood. In examining their creative practice both creating and working with musical instruments, I examine how these artists navigate the agential and material aspects of the instruments and systems they create, in parallel with the conceptual ideas that they bring to and derive from such systems.