Research Catalogue

This research is rooted in nihilism, exploring how the contrast between materiality and spirituality leads to a radical way of perceiving existence. What does it mean to be unable to believe in "what's beyond"? What role does the body play in such an issue? Starting from philosophy, this debate finds expression through art and different iterations, attempts to face the consequences of nihilism.

Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023. "There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived." Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level. The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production. Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso). With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.

In this exposition I invite you to reflect on a part of my artistic research: the screen capture. The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production. In this artistic research I also use experimental software and unconventional methods to carry out images from videogames. At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.

This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology. This interview features Bryan Senti, American composer, violinist, and producer, whose work bridges classical tradition, Latin American heritage, and cinematic experimentation. His music, ranging from solo albums such as Manu to film scores and collaborative projects, combines impressionistic harmony, acoustic warmth, and electronic texture, shaping a distinct post-classical voice that is both intimate and expansive. In the conversation, Senti reflects on the integration of composition and production within the digital environment, the evolving relationship between notation and sound, and the ways in which tools like the DAW and immersive formats such as Dolby Atmos redefine musical form and spatial perception. He also discusses authorship in film music, the ethics of technology, and the need to preserve a human, performative presence in an increasingly algorithmic landscape. Senti’s reflections reveal a vision of music as a living craft, an art of listening, shaping, and reimagining sound, where composition becomes a dialogue between emotion, material, and space.

Abstract This exposition investigates musically framed silence by extracting and analyzing auditory data and proposing new analytical strategies to deepen engagement with silence as a compositional element. It reontologizes ambient sound as capable of bearing musical and narrative significance. The study centres on Cageance (accessible at https://cageance.webflow.io)¹, the author’s web-based international collaboration extending John Cage’s 4′33″, exploring how chance-generated environmental sound may function ecologically, musically, and narratively. Using a Cageance performance recorded in Portugal as a case study, the research applies a multimodal analytical framework combining Schaferian soundscape theory, conventional musical analysis (including Schenkerian reduction), and dramatic analysis. Visual mapping methods classify sounds into soundmarks, signals, keynotes, and ecological categories (biophony, geophony, anthrophony), while revealing emergent musical and dramaturgical properties within the soundscape. The study proposes new notational and analytical approaches for non-composed sound, positioning silence not as absence, but as a generative site for compositional and narrative inquiry. These findings contribute to ongoing discourse in sound studies, ecological musicology, and practice-as-research methodologies. ¹ The Cageance platform functions best on tablet or desktop devices; headphones are recommended.

By combining text and three video essays, this contribution presents a multimodal ethnography of loudspeakers in the Roma neighborhood of a Romanian village. It is based on video recordings, which were left out of the analysis and editing of my documentary films because of sound distortion. Revisiting my fieldnotes and the “ethnographic rubbish,” here I establish a critical study of my initial position – for 15 years I wasn’t paying attention to loudspeakers as an object of study in their own right – and I argue how these sounds have become auditory markers of the neighborhood since, at least, the beginning of the 2000s. The article thereby contributes to the fields of both anthropology and sound studies. It shows how the use of loudspeakers is made up of rivalry, interference, fame, fraternity, and familism. Moreover, the analysis shows how the lines between public and private spaces, and between oblique listening and noise cancellation are continually reconfigured in a community obsessed with mutual acquaintance.