Research Catalogue

RESIDENCIAL DA BOAVISTA II No centro da cidade do Porto, pendurado na Avenida da Boavista e junto à barulhenta VCI, está um lugar onde quase nada acontece, o Foco. No Bairro Habitacional do Foco, neste bairro modernista, o tempo parece estar suspenso. Prédios podem ser construídos à sua volta, plenas mutações citadinas e o bairro ainda manteria a sua estética e ambiente. O bairro é como um corpo refastelado, com a sua cabeça pousada na avenida da Boavista e os pés sobre a VCI, sempre em contradição à movimentação e ruído constate da cidade envolvente. Os vizinhos encontram-se na entrada dos blocos, a senhora do 1.º esquerdo limpa a varanda, o porteiro vigia, solitário, o majestoso átrio. Entretanto, na urbe surgem, diariamente, novos movimentos, os metros descarregam milhares de pessoas, os citadinos saem à rua desenfreados na motivação de vivenciar um novo dia. Numa primeira fase, desenvolvemos este estudo da cidade e a sua relação com o bairro residencial colocando em foco os seus cidadãos e como os diferentes espaços são vivenciados, refletindo os seus movimentos. A cidade tece uma manta de retalhos. É na Boavista onde estes se juntam prolongando-se da cidade ao mar. Artefactos de várias épocas são unidos por uma linha invisível. O Bairro Habitacional do Foco, este bairro modernista, marca o meio desta Avenida, mudando o ambiente. A avenida comercial torna-se habitacional. O ruído torna-se em calma. A confusão citadina abre espaço a uma tranquilidade aparentemente suburbana. Numa segunda fase, uma nova promenade, com enfoque nesta relação recém-descoberta. Habitando o espaço do Bairro, entendemos que este é contaminado por figuras geométricas em contraponto à natureza.

ارض حريه كرامه وطنيه land, freedom، collective dignity a slogan that has been with me for a long time, since the revolutionary moment in Tunisia in 2010, when we raised it in the protests, wrote it on the walls, banners that we held high, we sang and shouted it, it recurred in our writings, in our conversations, in our dreams of the sovereignty and independence of our lands. today I see, we see, houses bombed, falling down, turned into dust, piles of stones, dirt. the land carries it all, embraces the decay and transforms it. Down there, other times lie, invisible, suspended from the narratives of control and structures of oppression that dominate the realm above. in the past semester, perhaps even years, I have turned my attention to the interstices in cities that have been created, or rather overrun, by the political programming of urban spaces. They have become areas that have no specific function, no specific production value, no active role in the web of trajectories, signals, instructions, restrictions, power relations... they are just there immanent I like to go there, to step aside from the flow of traffic, to stand in the in-between corners that people hardly look at. I am always wandering, wondering how I can inhabit them, reconvert them, activate their performative potential, claim other times and relations that neutralise or reverse the dominant narratives around me. I took the act of strolling as a ritual, a method. I looked and all I found was dirt, soil, biomass, decaying debris, stones inhabited by microscopic organisms, a complex stratum composed of various "others". everything felt connected and embedded in itself. robert smithson wrote in an article: "the city gives the illusion that the earth does not exist. but what I saw was a symbiosis of things we often see as separate, they grow, they evolve, they shift as a one, a network of self-organising systems. There's no master, no slave. I saw in the land a biosphere highly charged with inter-independent times, stories, histories, memories, dreams, identities, homes, belonging, roots... they are all there, traces of our past, inherited from our ancestors, and of our present, which we define ourselves. monday, half past nine, the air is slightly aggressive, my hands are cold, I am collecting soil in this area behind the railway. I haven't broken any laws I promise, I haven't jumped any barriers, I've just been following the side of the canal. I don't really choose where I stop, the ground calls me, I respond. I walked to the back of this area that has no title, I found a small door hidden behind the herbs. It opened onto a cemetery, beautiful and quiet. I remembered Michel Faucault and his concept of heterotopia, which also fascinated me during the first semester. he described them as spaces absolutely other, the city's sacred and immortal wind. I saw in the in-between spaces of the city what I call heterotopias, a land for altered human and non-human relations, friday, february is almost over. spring is shyly approaching, I could see and touch it as I bent down to collect some earth. today I had an encounter with a microscopic, translucent creature. I've observed so much autonomy and self-sufficiency through it. vivieros de castro, a brazilian anthropologist interested in the amazonian cosmologies and amerindian perspectivism (the way in which humans, animals, and spirits see both themselves and one another, an idea that suggests a redefinition of the classical categories of « nature », « culture », « super nature » based on the concept of perspective). said in one of his lectures: "the experience that each 'self' has of the 'other' can, however, be radically different from the experience that the 'other' has of its own appearance and practices." -- Lecture 1, p. 51 it seems to me that when we turn our gaze to our other, non-human selves, who perceive reality from a different perspective, within a very different temporality, we learn so much about how the world is of relative semblances, for example, what is solid earth to us is airy sky to the beings who inhabit the strata below us, and what is airy sky to us is solid earth to those who inhabit the strata above us. it is a world of relative semblances, where different kinds of beings see the same things differently. in the last few years, before coming to the Netherlands, i've been volunteering on organic farms, dynamising the soil, collecting and redistributing biomass, planting wild forests... this has taught me a lot about how what happens in the soil can influence what happens above it, in terms of self-organising structures, symbiosis and, above all, solidarity. these last few months have also taught me that solidarity comes with love, it's hard to relate to the feeling without having love as a drive.

The publication Envelope offers insights into ongoing PhD projects by candidates in the PhD programme PhD in Art at the University of Applied Arts Vienna in an innovative format. The major thrust of “Envelope” presents content supplied by doctoral researchers based on their individual artistic research and provides insights into ongoing work processes. These visual and textual traces reveal the state of the Art within its ongoing research processes. Jointly developed by Margarete Jahrmann, professor of the PhD in Art programme from 2017/18 to 2021, and Alexander Damianisch, director of the Zentrum Fokus Forschung, this open format seeks to reflect on experiences through exchange, as well as document relevant developments in the field of art and research.

This research explores the concept of authenticity in transcription. It is applied to Béla Bartók's Six Dances in Bulgarian Rhythm, movements one, two and five. By prioritising different aspects, the overall look of the transcription is shaped. Examples of these aspects are the sonic possibilities of the chosen or original instrumentation, the general style of the composer and the piece, one's own musical context, the technical abilities of the players... All these aspects could be considered as a form of authenticity. The first chapter elaborates on the concept and discusses methods of transcription. The second chapter analyses the history of the classical guitar, including its transcriptions. The guitar's search for a place in the classical mainstream has encouraged guitarists throughout the centuries to write transcriptions. Throughout history, the concept of authenticity in these transcriptions has changed. The final chapter discusses the entire process of transcribing, from the intentions behind selecting the piece to the obstacles and dilemmas that arose during the process. It shows that the transcribing part is as important as the individual practice and rehearsals. They alternate and influence each other. The Six Dances in Bulgarian Rhythm were of great importance to Bartók. Today they are not as popular as his Six Romanian Folk Dances but given their historical context they deserve to be heard more in today's classical music scene. Finally, it becomes clear that the abstract musical idea of the composer should be kept clear from the beginning to the end of the transcription process.

The research entitled "Augmented Feedback", is focused on developing a compositional practice, centered around acoustic feedback processing in digital spaces. I wish to explore acoustic feedback that occurs in virtual spaces, including the hybrid world of physical and digital space and physical phenomena that occurs from the excitation of feedback through microphones and loudspeakers. I will focus on experiments, reflections, developing techniques and functions that I have discovered while composing and experimenting with pieces that have used processed acoustic feedback as sonic material, microphones and loudspeakers as instruments. The outcome will have brief background and development reflections about my approach to feedback around my personal compositional practice, the historical side of feedback and how it relates to the works of other composers and artists, technical and philosophical content of feedback in compositional situations, and how my compositional approach led me to the term “augmented feedback”. “What if the sonority of feedback was not the center focus point of a piece? What else can we develop by using feedback and imagining it in different sonic landscapes? What is the mystique of its nonlinearity? How can we deal with microphones and loudspeakers as a musical instrument through using software environments?” are the main questions that drove me into researching feedback. Dividing these questions into subcategories: conceptual and compositional.

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.