Research Catalogue

Happening, 2016. Participant's research, including improvised full recorded interview with first generation Albanian immigrants to Greece, images, and thematic text. The research was conducted for the workshop, "Logics of Worlds", inspired by Alain Badiou's work and organised by architect Filippos Oraiopoulos, at Athens School of Fine Art (ASFA), Master of Visual Arts (Marios Spiliopoulos, Giorgios Xiropaides), December 2016. Adopting the political approach of Badiou's "L' Organisation Politique" to apply direct intervention for societal problems, including immigration and labour, I used play as a method to facilitate improvised discussions. People share and respond more freely when participating in structured, but playful interactions, such as those a game involves. Albanians speak three languages, Albanian, Italian and, a few of them, Greek, so I wasn't able to translate parts of the conversation. Avlona is an English now obsolete name for Vlore, an Albanian seaport and former ancient Greek colony Aulon. Albanians came as refugees in Greece initially in the 1990s, after the fall of communism in their home country. Religion was banned in communist countries. Notably, the men I spoke to didn't want to be visualised. Hence, the exposition aims to juxtapose the experimental and the conceptual in the fine arts; and to make the 'invisible' visible. Badiou is also known for his philosophy of metaphysics of the four "truth procedures": Politics, Science, Love and Art. The workshop was slightly interrupted by a performance art student, who brought a live hen to slaughter in the studio. This can be taken as a metaphor for scapegoating (by re-assigning the gender of male) Albanian refugees. For this exposition, I include an essay by Pantelis Boukalas, in Kyriakos Katzourakis, O "Dromos Pros Ti Dysi" (The Way to the West), 2001, as well as Kyriakos Katzourakis' introduction in English. I don't have any personal or other connections with Albania (or North Macedonia); I had never visited before 2024. This was a project to research and document in an artistic manner the refugee and immigration crisis in my native Greece, but also to voice my opinions on this topic from my perspective as a native Greek. Non-EU economic refugees must not be confused with political asylum seekers, who encounter persecution for political reasons from the countries of origin or citizenship. I spoke to non-EU economic refugees. Albania (and North Macedonia) is a non-EU country; Greece, my native (and my parents' and grandparents' native), has been in the EU since 1981. I have also been a UK national, by naturalisation, since 2011. Paradoxically, the outcome of this project was that fictitious non-EU son(s)/daughter(s) of mine have been (since 2018) on UK police databases, as disabled 14, 19, 21 year-old transgender Italian/Albanians. Maybe I was married to a Nordic neo-Nazi, who was living with one of them since 2013 in London? Dismissed. Or did I have the one that came to the UK in 2017, who is the daughter of a known (not to myself) former Greek politician? Dismissed by the Greek authorities. My concerns about serious international organised criminal activity (not even honouring children's basic rights) were reported and confirmed by the Greek, Scandinavian and Albanian authorities. The Greek Golden Dawn - with their "Big Idea" (Megali Idea) of conquering foreign countries, like North Macedonia, and their chronic attacks on immigrants and refugees in Greece - was convicted as a criminal organisation in October 2020. They invented the 'concept' of the 'Real Greek', dependent on any Greek's political orientation. Now they're losing their sixty seven (67) appeals - and early releases. The conversation took place during the period Golden Dawn was prosecuted in the Greek High Courts of Justice (Areios Pagos), 2015-2020. Many non-EU immigrants to Greece provided testimonies in the courts, despite the fact they were frightened. Manolis Glezos was the only Greek politician, who went to visit Magda Fyssa, Pavlos' mother, in the Greek courts. For Pavlos Fyssas, aka Killah P. For Alain Badiou, a communist-Maoist political philosopher, and the OP. For the missing Albanian and of Albanian ethnicity immigrants. For Michalis Katsouris. The work is in progress.

Modo de trabalhar no projeto coletivo na plataforma RC: Owner do projeto de grupo é o Ivan, todos os outros são co-autores.

Modo de trabalhar no projeto coletivo na plataforma RC: Owner do projeto de grupo é a Carolina, todos os outros são co-autores.

An artistic Postdoc project intended to create an environment for musical innovation, to explore the design of new physical and electronic instruments and to host the international NIME conference 2011. This interdisciplinary artistic research project was a collaboration between the composer Ivar Froundberg, Music Technologist Aleksander Refsum Jensenius and percussionist Kjell Tore Innervik. A project to enhance the possibilities of music performance for the many and for the few located at the Norwegian Academy of Music.

In this lecture I reflect on recent artistic work relating to perception, technology and bodily awareness. The lecture was part of the Digital Narratives Network Conference held at UiB in 2019. The Digital Narrative Network Conference and Exhibition was a cross-faculty initiative at UiB/KMD with a keynote by N. Katherine Hayles on literature and AI, a series of presentations by scholars, artists and authors, and an exhibition of digital narratives, including a sample of my "Twilight Apparatus" sculpture-series. In my sculpture-work I have taken eyesight and optical phenomena as a starting point for mechanical installations that engage the senses and serve as metaphorical depictions of the relationship between human and technical cognition. My presentation will track the development of recent projects and the role of imaginative awareness.

This research project explores South African Art Music through collaborative practice and the classical saxophone. It begins by investigating the discourse surrounding South African Art Music through testimony collected from various conversations with South African composers, musicians and academics such as Dr Kevin Volans, Dr Antoni Schonken, Professor Hendrik Hofmeyr, Dr Cara Stacey and Arthur Feder. I began collecting the scores of South African saxophone compositions which led to the development of an online catalogue system to document these works -The South African Saxophone Catalogue. This catalogue forms the base - as well as the network - for how this research was developed. To further investigate the South African repertoire, I embarked on creative journeys with four South African composers through performer-composer collaboration. I decided to use this means of investigation as the relationship formed between myself and these composers shows a different level of engagement with this music, first-hand experience in the creation of this music as well as creating an open space for discourse. These collaborations were documented through reflections, audio and video recordings and are investigated in the form of case studies. The final artistic product was a concert featuring these new compositions in Cape Town, South Africa. The data collected was organised through an amalgamation of critical reflection and thematic analysis. Through this collective music-making, I discovered the variety in thought surrounding South African Art Music and paradoxically those who vigorously deny this term. I discovered the complexity both politically and socially that the term South African Art Music implies. In conjunction with my personal reflections, this exposition explores the ideas, opinions and art of individuals in various fields in the South African classical music scene who represent a variety of South African cultural backgrounds and generations.