Research Catalogue

How can dance and music, an art rich of history and a recent practice, the living body and digital immateriality communicate with each other? This project explores these questions through a live electronics performance in interaction with Odissi dance, one of the eight classical Indian dance forms. The performance combines fixed and improvised elements, fostering a dynamic interplay where music sometimes leads the dance and at other times responds to it. The work mirrors the traditional Odissi performance arc while reinterpreting it through a contemporary Western compositional lens. The sound material is created using SuperCollider, a code-based music synthesis platform. Algorithmic processes govern parameters such as duration, pitch, and amplitude, while real-time interventions are performed via a MIDI controller, enabling a fluid and reactive sonic environment. Several collaborative experiments inform the project’s development. Conducted both remotely and in-person, they involved exchanging musical sketches and choreographic responses, fostering a conceptual understanding of each other's creative processes, and enabled immediate feedback and improvisatory interaction, revealing how abstract sound gestures are interpreted by the dancer as vivid metaphors of natural phenomena through the expressive language of mudra. This project embraces the idea that meaning in performance does not pre-exist but rather emerges through the interweaving of gesture, sound, attention, and relational space. Rather than seeking fixed correspondences between music and dance, the collaboration foregrounds the instability and fluidity of sense-making as a shared experiential process. Movement and sound co-construct each other in the moment, guided by intuition, somatic listening, and a continuous negotiation of presence. In this light, the work becomes less about illustrating pre-defined narratives and more about cultivating a living texture of interaction—an evolving field where different temporalities, traditions, and sensitivities resonate and transform one another. Informed by Andrée Grau’s insights in Intercultural Research in the Performing Arts (1992), this project also approaches collaboration not as a neutral meeting ground but as a space charged with cultural histories and asymmetries of knowledge. Grau urges us to move beyond celebratory notions of “fusion” and to critically examine how traditions are represented, adapted, and negotiated in performance. In this light, the work does not seek to erase difference but to hold it in tension, encouraging a space where both artists remain grounded in their respective practices while allowing mutual transformation to occur. Rather than simplifying or assimilating Odissi into a Western framework, the collaboration is framed as an encounter—sometimes smooth, sometimes resistant—that reflects the complex, evolving nature of intercultural exchange. Here, meaning is not given but co-constructed through attention, respect, and a willingness to remain in the discomfort of not fully understanding. Bibliography Grau, A. (1992). Intercultural research in the performing arts: A critical review. Edinburgh University Press. Jayadeva. Gītagovinda. Tr. Giuliano Boccali (1982). Adelphi. Cassio, F. (2000). Percorsi della voce. Storia e tecniche esecutive del canto dhrupad nella musica classica dell'India del nord. Ut Orpheus Edizioni. Frödin, K. Unander-Scharin, Å. (2024). FRAGMENTE2. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=2045845 Frisk, H. (2025). Sound intuition. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=3025541 Giordano, S. The emerging sense. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=1220694

This video essay explores the sacred landscapes of Delphi and Delos, studying their historical significance as a centres of female knowledge, through embodied, intuitive, and affective engagement. Thinking about Ada Lovelace’s notion of poetical science, the site visits seek to trace the contextual and geographical roots of this concept. The film approaches knowledge as a sensuous, relational and embodied process, one that resists dominant rationalist and technocentric paradigms. The voiceover, recorded in Greece, threads reflections from Hélène Cixous’s The Laugh of the Medusa (1976), Karen Barad’s Diffracting Diffraction (2014), and Sasha Biro’s The Oracle as Intermediary (2022) from Otherwise Than Binary, New Feminist Readings in Ancient Philosophy and Culture Decker, J.E., Layne, D.A. and Vilhauer, M. (2022). Through these situated readings, the film proposes curating research and thinking through place as not merely interpretive but performative: an intra-active practice between self, site, and matter. The work explores myth and reverie, positioning the body in context as instrument. It proposes an expanded curatorial methodology rooted in presence, sensual attention, and poetic science - where intuition is included, and the landscape is approached as co-creator.

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Thesis of the Royal Academy of Art, The Hague, 2022 MA Interior Architecture (INSIDE) The most valued value of architecture, houses, interiors today is on an aesthetic level: we appreciate what we see. That can be the shape of a building or the material used. What is missing in the discourse on (interior) architecture are the other senses while they might have more impact on the users.  I find myself adding this extra step in the process of designing a space based on the user experience. While we now look at the space with hygiene and durability in mind, I wonder how to bring along this sensations into the experience of space. And how this step can provide a comforting, healing or stimulating environment.  With a series of sense enhancing objects I would like to reintroduce tactility to spaces where there is a demand for tactility through texture, touch and sensations. Choice of materials will influence how a space is experienced which in turn could affect how users deal with their emotions. As a designer, I feel the urge to address this emphasis of material choice and in this way contribute to a sensorially fulfilling experience for the user and add this extra layer of comfort/support through an exploration of materials and textures. 

Thesis of the Royal Academy of Art, The Hague, 2023 MA Interior and Architecture The emergence of the internet and smartphones has transformed communication and human relationships, expanding the range of communication and diminishing the importance of time and space. However, despite the increase in the number of relationships, social problems caused by loneliness and isolation are also on the rise, and people now tend to prefer personal space. This phenomenon raises important questions about the changing meaning and value of relationships in modern society, as well as the role of spatial design in addressing these challenges. This project aims to understand the desires of modern people regarding relationships from a spatial perspective, given the increasing number of one-person households and the issue of loneliness. Especially, this project explored the sensory aspect of communication through 'spatial experimentation' which is being faded while indirect communication is increasing. By utilizing nonverbal communication as a foundation, several spatial tools were employed to induce communication centered around movement, tactile sensations, and olfaction. Based on interviews conducted during spatial experiments and various psychological and sociological research, a concept of a virtual communication space prioritizing sensory connection was devised. In this virtual space, time and space are shared. The boundaries that separate spaces are flexible, opening and closing, allowing individuals to sense and communicate with each other through their senses. While modern communication often begins with the exchange of information and linguistic interaction, in this virtual space, communication starts with movement, friction, noise, or scent occurring in the shared physical environment. The boundaries that distinguish spaces are composed of various forms of curtains, which can open or close depending on the specific needs. These flexible boundaries allow each space to become a personal area or a shared area, depending on the circumstances.

Thesis of the Royal Academy of Art, The Hague, 2023 BA Photography With the recent cultural emphasis on the pursuit of happiness, the expression of negative emotions seems to be neglected. The impact of not valuing and integrating emotions that can be viewed as negative can be detrimental to one’s well-being. There seems to be a widespread denial or suppression of such emotions that, eventually, can lead to problems such as self-esteem problems, depression, anxiety, etc. This has led to the urge to better understand what this observation is based on. How do you dress? What parts of your life do you share? What version of yourself do you show? Do you show the socially acceptable version or the raw and authentic version of yourself? There seems to be an unspoken rule that dictates how people should behave and portray themselves in front of others, showing only the positive aspects of their life. Taking this concept to a photographic level, I have encountered this scenario many times. You walk up to somebody and ask if you can take a picture of them. Their body tenses up, they rise tall and proud, and their smile stretches from ear to ear. They suddenly seem to be the happiest they have been all day, just for the picture. This is also the reality of social media. Once you open the app you are sucked into a wonderland. Posts and stories of people seemingly living their best lives, travelling, smiling, flexing, and comparing themselves to a #FAKEBODY. This makes me question what power photography holds in this day and age. In what ways could photography be used as a tool used to suppress our emotions instead of allowing us to express our true feelings? Through the use of chaptersation and personal stories, this thesis is presented by different emotions. By doing this, my aim is to create awareness and highlight the emphasis of emotions, making the reader question their own feelings and emotions, taking what resonates and helping them to tap into into their own body.