Research Catalogue

In this exposition, I discuss the multimedia installation "Esparto, approached", to which I opened doors last May 10th, 2025, in Organo Hall, Helsinki Music Center. "Esparto, approached" is the first of a series of three installations representing the artistic component of my doctoral degree at the Sibelius Academy, Uniarts Helsinki. The research project in which this installation is contextualized is currently titled "Listening through remembrance: An autoethnography of presence in the age of disposability". In this artistic research, the notions of listening, remembering, and presence-making are interwoven in an attempt to understand how we confer meaning and value on things despite our embeddedness in a world of disposable nature, where things are susceptible to being quickly discarded, replaced, and, therefore, forgotten. This exposition opens up a space of reflection in the aftermath of "Esparto, approached". The installation represented a collective recall of the field practice that led me to search for signs of durability in abandoned contexts of my homeland in rural Southeastern Spain. This exposition poses the following questions about it: What happened? (Description); What does "what happened" mean? (Analysis); And, how does "what happened" keep happening now? (Further becomings). The objective of creating an online exposition right after the event is to open a window to the reflective process of this investigation before its completion, thus making visible its traces. The process itself is therefore turned into an accessible outcome that manifests the continual nature of the project as a whole.

Jenny Sunesson (b. 1973) is a Swedish artist predominantly working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.

a lesson in the shadows of death entangled moment of frozen fragments embodying sacred movements through air, body, mind, mattering, voicing as if NOTHING

Reworking the archival estate of the Turkish-born poet Semra Ertan, who has lived in West Germany as a so-called “guest laborer” from 1971 until her death by self-immolation in 1982, Cana Bilir-Meier’s film Semra Ertan (2013) pursues representational concerns via material means: in particular, via the materialities of sound cuts and tape hiss. This article brings Bilir-Meier’s sound work in dialogue with Tina M. Campt’s “listening to images” (2017) and Salomé Voegelin’s “sonic methodologies of sound” (2021) in order to develop a sonic method that accounts for the situatedness of historically and socially differently positioned listening subjects.

This article discusses sonic materiality through Alfred North Whitehead’s organicist materialism. The sonic materiality that is here outlined is not related to sound vibration. Materiality should here be understood in the sense of actuality and concreteness. Anything that produces an effect bears a qualitative difference. The actualization of qualitative difference is concreteness. It is in this sense that sonic materiality is developed in parallel with spatiality. The liveliness of this space emergence is that of affect; its concreteness is that of affect. It is based on Affect theory that we may understand its experience as an immersion in a concrete but abstract qualitative difference, an abstract materiality. Thus, the sonic materiality departs from a conventional conception of objects to foster a sonic object that constitutes itself through relationality and extensive connections. The empirical concept of affective territory speculatively attempts to grasp the spreading out of affect expressiveness through these connections to track its effects in experience.

Petromusicality. On the Sonic Culture of (Plastic) Material and Beyond explores the fossil fuel-based history of music media, focusing on vinyl records and their environmental impact. This Audio Paper examines historical production processes, material consumption, and the resurgence of vinyl culture. Through artistic research projects and expert perspectives, it discusses the political and ethical dimensions of sound reproduction. By highlighting sustainable alternatives and exploring the connections between extraction, mass production, and materiality, the study encourages a deeper engagement with the physical aspects of sound and their global implications.