Research Catalogue

This exposition is associated with The paper with presentation: "Inventing a Versatile Platform for Instrument Augmenta- tion and Electroacoustic Composition" for International Computer Music Conference in Boston 2025.

This is the working document of a six-month residency with the Sound and Image Research Centre at the University of Greenwich, summer 2025, funded by the Arts Council England DYCP program. As an exposition, it records the field trip element of the project and begins to explore the role of spatial audio composition and installation in forging deeper relational connections with place. Ultimately, it asks whether the spatial audio encounter alters the subjective position of the human listener towards a more posthuman subjectivity. As the project evolves more will be added with the hope of an eventual live performance of selected compositions and a broader exposition on the role of field recording as a compositional method.

Keywords: access, censorship, document, knowledge, language, navigation... For a few weeks, a group of peoples gathered and had for agenda to approach "research" in education(s) and in the context of Art as part of Societies. Investigating/reading/questioning traces (signs, clues, memories, facts, datas) and shadows of knowledge systems, circulations, and accesses - including active translations and reflections on perceptions - they discussed the status of "document" and values of knowledge in relations to the modalities of their publications and presences within the context of a library. The group decided to focus on analogue research methodologies. Extracted? Outdated ? Archived ? Censored ?

Touring occupies a unique and often underexplored role in the careers of electroacoustic musicians, where the intersection of artistic, technical, and logistical challenges becomes especially pronounced. This article examines the practical realities of touring within the context of multichannel electroacoustic music, using Electric Audio Unit’s (EAU) performance in Tallinn as a case study. The article highlights the challenges of preparing for and executing a multichannel concert in an unfamiliar venue, including issues of spatialization, equipment compatibility, and time constraints. Additionally, it reflects on the broader demands placed on electroacoustic musicians, who must often juggle multiple roles to ensure the success of their performances.

This exposition examines the intersection of drawing, installation, and handmade objects informed by popular culture, spectacle, and visual symbolism. Central to the practice is the duality between physical materiality and virtual environments, a framework through which fictional realities are constructed and analyzed—often reflecting states of exhaustion, overload, and alienation characteristic of hyperactive contemporary culture. The use of low-budget materials and do-it-yourself methods introduces a deliberate tension between meticulous craftsmanship and intentional “amateurism,” while simultaneously subverting the capitalist logics of mass culture through the reuse and recontextualization of its visual language. Connecting introspective and social dimensions, the exposition offers not only an aesthetic experience but also a critical lens on everyday consumer routines, media-shaped reality, and processes of personal self-reflection.

The exhibition is deeply rooted in local history—the artist group explores the story of the white pigment titanium dioxide's industrial origin in Sandbekk, and how this world sensation from 1910 has influenced our world today. Titanium dioxide white pigment is a global color phenomenon. Ilmenite is transported from Titania to its sister company Kronos Titan in Fredrikstad, where it is refined into titanium dioxide. From there, the pigment circulates seemingly invisibly in a global network of systems. It is used in paint, plastics, paper, ink, cosmetics, medicine, sunscreen, and millions of products we use daily. This history is the starting point for the development project TiO2: The Materiality of White. Over the past two years, the artist group has visited Titania's mines and deposits, gathering materials from the local history. Just as geologists examined the areas in Sokndal over 150 years ago in search of valuable minerals, the group has wandered through the landscape, picking stones and collecting sand, clay, and rust-colored earth. These findings have been brought back to the ceramic laboratory at KhiO, where they have been processed through ceramic methods.