Research Catalogue

What is OASIS? Does it have a spiritual dimension,or is it something temporal that is shaped by social relationships and achieved collectively? It is about the collective, inclusion, a place of relaxation? Does it have to be about proximity between people or a total isolation in a safe domestic environment and introspection? What happens if, within our social fragility, we leave our personal oasis and enter the public realm, where we are exposed under the gaze of others? If we decide to carry with us , even if it means symbolically , our personal domestic objects that make us feel secure and present , as a shield against the uncertainty of the outside world? Is this the answer?

This performance seeks to form visually narratives about gender fluidity, identity, vulnerability, and the sense of the fragmented self in this fast changing world monitored by cameras, frames and the feeling that we are constantly observed . Body is the main research tool, a moving diary. On its surface are imprinted all the stories, desires and fears experienced during the years. They are collected, and then, interpreted kinetically, blurring the boundaries between the material reality, and the reality of the unspoken. A keeper of all the intimate and domestic moments, trying to protect them from the external world. In this journey, Camera obscura is a companion and an opponent.

This research endeavours to reveal the transformative potential of artistic creativity by combining musical improvisation and yoga-based embodied listening practices. The study incorporates three listening practices: humming and self-observation, listening only with the right ear, and listening to the space within the heart. The effects of these experiments are documented in a journal and recorded as audio files. In addition to improvisation as a musical practice and embodied listening, this research also considers how yoga, - which has become an important part of Indian culture over the centuries with its roots in Vedic culture - can shape artistic identity through its philosophical understanding of sound, and its perspectives on the human body as a cosmos. The research emphasizes subjects such as the healing power of humming, chakra energy, collective consciousness, energetic centers of consciousness in the human body and their potential role in transforming the artist's identity. The thoughts and experiences in this research are personal, but the content of this article has been written based on these experiences as an attempt to present visions for global musicians to transition their musicianship into a more universal form, and to pose multifaceted questions to the reader. This paper draws attention to different improvisation techniques makam terminology and explores existing literature to open innovative doors based on holistic experience. The findings reveal the vibrant and energetic connections between the effects of music and vibrations on human life and the body, and the various philosophies that nourish the artist's identity and expression. This thesis encourages improvisation as a form of existence to establish deep spiritual connections with experiences from the past and present. Highlighting dimensions of music that are unnoticeable due to existing industrial structures and education models, the most importantly, esoteric knowledge of the body, inviting the reader to be open-minded for all sonic possibilities.

“No one knows what the experiment is worth, but I imagine it’s better than sitting on your own hands.” Possible and barely possible moves is inspired by the kung-fu film Drunken Master, where simulated intoxication is used as a way to confuse the opponent. 
In the project, I used sketches of the movements in the film as a starting point for physical improvisations and looped GIF animations. Imbalance and loss of control have been used as a consistent method – both to generate material and as a way to surprise myself.
 Failing at something you've set out to do can sometimes generate new ideas.

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.