Research Catalogue

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

Sculpted and painted wood, combined with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures, 2020. Digital drawings, 2021, 2023. Dutch steel sailing boat part-restoration and renovation, Amsterdam (with Sean A. Hladkyj), 2019-20. Relief and improvised sculptures made with industrial paints, as well as found objects, were exposed to weather conditions, including heavy rain and wind, over a few months on a floating timber raft. Working with the changes the weather was causing to the ad hoc studio, I made changes until the painting was finished, photographed, then dumped. The relief was collected. I applied the colours from those available in a symbolic manner, abstracting the view of a ghetto in a large city. The objects stand for the landmarks. The pieces would comprise of the scenography for a theatre performance, informed by my conversations with a theatre lighting technician. The event would also include a donation event of the art objects. See external link for the theatre play, based on the tradition of the philosophical dialogue and employing the idea of performing philosophy to make it accessible to a wider audience. Political asylum has been traditionally offered to people who flee from their countries of origin and citizenship, because of violations of their dignity, which is a human right, for their political beliefs and related activities. Currently, seven human rights of mine, five basic, have been infringed in the United Kingdom, where I have been a citizen since 2011; the origin is my native Greece. Political asylum is only offered to people, who are non-citizens of the country where asylum is sought from. At the same time, political asylum has become harder to offer, due to the global nature of persecution of whoever is perceived as a dissident. Since 2020, Forza Nuova, the Italian affiliate of the Greek Golden Dawn, has participated in the organised international criminal case, of which I have been the target, originating from my native Greece, "accelerating" in the Netherlands and the UK in 2020, Covid-19. Notably, Roberto Fiore, Forza Nuova's leader, inherited briefly Alessandra Mussolini's post in the EU parliament. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique; a suggestion for alternative, autonomous lifestyles; and a performative metaphor for global refugees.

The exposition is an artistic PhD thesis and contains research outputs in three categories, Performance Archive, Research Publications and Method Development tied together by an essay. I.Essay: Testimony of a Pilgrim. II.Performance Archive: No Show - exposition. Island - exposition. Strings - exposition. Pleased to Meet You - exposition. III.Research Publications: Porous and Embracing Dramaturgy for Transformative Encounters - video article. A Quest for Existential Sustainability - video article. Transformative Encounters - podcast series. IV.Method Development: ME-THOD. How-little-is-enough-approach. Abstract At the core of this artistic doctoral thesis are four performance projects designed to counter the consumer-driven nature of contemporary performance-making while also addressing the need to develop sustainable methods of performance. Guided by the question: how to construct sustainable methods of performance for transformative encounters? the inquiry transcends the different layers of performance-making to explore the potential of performance as a catalyst for societal change. As a part of the Agenda 2030 Graduate School, an interdisciplinary research initiative at Lund University, the project focuses on existential sustainability and investigates how performance can enhance participants' sense of meaning and motivation for adopting sustainable lifestyles and increasing sustainable awareness. The thesis output is presented in three categories; a performance archive documenting, detailing and analysing the performances and their impact; research publications, disseminating findings and key concepts through different public formats; and method development accounting for the methodological approaches that have emerged through the process. The four performance works of this artistic research are: No Show (2020), Island (2020), Strings (2022), and Pleased to Meet You (2022/2023). The three publications of the project are: How Little is Enough? Embracing and Porous Dramaturgies for Transformative Encounters, a video article; How Little is Enough? A Quest for Existential Sustainability, a video article; and the podcast series Transformative Encounters. Utilizing Me-thod, a pluralistic situated methodology grounded in the artist´s personal background and skillset, together with the how-little-is-enough approach, which minimizes production and focuses on essential needs, the project has collected insights into how performative encounters can initiate transformation in participants and foster connections to the world around them, thereby enhancing existential sustainability and nurturing care for the environment. Through repeated cycles of action-based artistic research, employing qualitative materials and autoethnographical approaches, rich data was generated. The findings emphasize the importance of personal engagement, embodiment, and authentic exchange as catalysts for transformation within performative encounters. Through this investigation, the thesis aims to contribute to the development of sustainable approaches to performance-making that facilitate profound and meaningful human experiences in an era marked by unprecedented societal and environmental challenges. ISBN:978-91-8104-107-1

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).