Research Catalogue

Projeto auto-propostp. Explorar dois tópicos: 1º A Membrana (Corpos adoptados) e a Caixa Sensorial

Thesis of the Royal Art Academy, The Hague, 2024 BA Fine Arts In the landscape of modern society, alienation is a common denominator to the experience of individuals. Whether this is due to society’s perpetual acceleration, or the experience of life through the ever-present lens of consumerism, alienation is an unmissable part of the contemporary human experience. This extends to the art world, where the chasm separating an ever-booming global market for the arts, and institutions struggling to get their pre-covid-19 visitor numbers highlight the disparities in the experience of art today. These disparities will ultimately transpire in the experience of the viewer. But how, and why can art be a catalyst for alienation in late-contemporary society? This Graduation Research Paper is an attempt at exploring the relationship between the artwork, the audience, and the artist, so as to attempt and provide a comprehensive notion of the ways in which relationships form around artworks, notably through communication theory. This GRP will also explore examples of elements of influence in the formation of communicative structures between the art and the audience. Notably, this paper will discuss the myth of the artist, and its influence as an authority in the experience of art, as well as the influence of spatial context on the reception of art. The paper will conclude that the artist possesses limited agency in the reception of their artworks, and that in order to provide an honest experience to a contemporary audience, the artist must seek to understand and deconstruct the codes which surround the audience's consumption of art.

Performance philosophy is still something of a ‘wild frontier’ where fundamental questions can be re-posed concerning the nature of wisdom and love, life and truth. For if love and wisdom are not co-extensive with verbal communication, then philosophy may be legitimately pursued by performative means. In this session the participants aim is to enact and unfold a set of trajectories rather than describe or 'define' their work in words alone. Passion and grief are disruptive currencies. Passion and grief not only seem un-necessary for biological life, they frequently threaten it. Yet a life lived without them would seem impoverished. Whether one views these turbulent affects as parasites, invaders, or as the engines of higher culture, they inhabit philosophy as an ineradicable black-market haunts all states and empires. We aim to consider this under-zone on its own terms, weaving theory with demonstrations of transferable techniques for cross-disciplinary research.

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.

vAImpir: AI as a vampiric tool. //publication-artifact// The vAImpir project (виипир) takes as its starting point AI as an axis of self-reflection: on the one hand, as a tool for content expansion and artistic exploration, and on the other, as a tool that parasites with representations of the historical biases that accumulate in the databases within the framework of the digital humanities, and that in some way describe the current moment, in which the understanding of the world unfolds on a digital interface where authorship is diluted. A reflection-action from diffusion models on the narrow margins that separate the space of reality and the space of fiction. This project is contextually fed by the work Vampir-Cuadecuc (Pere Portabella, 1970).