Research Catalogue

Work-in-progress for the development of a sensorial piece, first explored during the workshop Augmented Attention Lab.

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design and styling, as art installation. Looted, 2024. Investigatory research with artworks, 2023-24. Interactive research blog. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April from Woolwich. After I left, the landlords moved in two or three under aged, who I have never met, so that they pretend to be my daughters. Subsequently, they must have been 'removing' them one by one over the last few months and until October 2024. The company behind 14 Barnsbury Road was deemed illegal through the courts, on 22 April, 2024, shortly after I was forced to leave at the end of March. The maintenance employed many Polish citizens, all dressed in black with black caps, adopting the XRW supporters' fashion code. The household of tenants was mixed and multicultural, but mainly British natives, with the exception of a couple from Hong-Kong, an American citizen, and myself, a naturalised British citizen, originally from Greece. Twenty-two (22) and twenty-three (23) photographs, including two (2) plus one (1) of myself: NOT a missing person, from the 2022-2023 period in the eventually looted, in spring 2024, Islington studio. Twenty-two (22) missing persons for twenty-two (22) non-EU and EU fake passports with my family's Greek surname; plus one (1) that might also be connected with a missing Greek teenager. Two (2) more missing persons for two (2) more fake passports without my family's surname. Two (2), plus one (1) targeted cultural producers: the anti-fascist Greek musician, Pavlos Fyssas, aka Killah P. (domestic); the French/Belgian filmmaker of Jewish origins, Chantal Akerman (global), who lived and worked in France, as well as the US, and whose personal details, specifically her life insurance policy and her medical file, got stolen in connection with the case, can be added to the toll of two (2) deceased. My personal details, name known as and artistic name, as well as numbers connected to my personal details, were stolen, too, while I (post-global) was targeted as a cultural producer, an artist and former academic. Was I going to be the third victim? Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice. The visual imagery and the art included in the photographs is influenced by the marketing and advertising industry; I brushed shoulders briefly with students in the creative industries teaching at the Winchester School of Art. I used this an ironic commentary on Golden Dawn trying unsuccessfully to create a brand through propaganda, not political marketing. The art world has been traditionally male-dominated. This has not changed dramatically in contemporary art. Female artists have sometimes adopted male attitudes, or personas, to break into the art scene; see Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, that there is no art for women or so-called women's art. Good art transcends such categories, tapping into more universal experiences. Saying this, I would like to quote Nancy Spero, who doesn't crudely distinguish between male and female art, as follows:"What if the default gender for 'artist' were female? What if, when we looked at a work by a woman, we said to ourselves, "That is art," and when we looked at a work by a man, we automatically identified it in our minds as 'men's art'?" In 1999, I wrote a long essay about the architectural uncanny, which I submitted as my graduation thesis for my first MA in architectural theory. I called it "Space as a 'Bad' Object: A criminal investigation on the notion of space". I got inspiration from detective novels and real-life crime stories. The long essay was about the role of architectural space in crime. It was unsupervised until submission: I received a distinction by a Bartlett staff member. I took the digital photographs in conceptual adherence with that essay. I was a postgraduate philosophy student 9/2017-11/2019 at the University of Amsterdam, Netherlands. In this exposition, I include new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the Islington property I was renting, on 27 March 2024. I gave the photography series that name, because it has served the purpose of investigating, recording and tracking a crime, for which architectural space, such as private rentals, has been used. For Chris, my former neighbour, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, a second generation immigrant from Nigeria, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. And for Ali. And for Oliver, also my former neighbour. In memory of Howard, also a tenant at Bellview, and former neighbour. To all those who don't just "play" the cultural and racial diversity clause; they don't just rely on identity politics, because the class problem has not been resolved for them, either. Saying this, the UK must still be scoring high on racism, especially for people of African descent. A Nigerian was among the Golden Dawn victims of assassination in Greece. I was listening frequently to Massive Attack, a British trip-hop band, when I was living in Islington. Sophie Calle is a French writer and photographer, working on themes of identity, intimacy and everyday existence. Her work is partly inspired by the detective fiction genre.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

Table of contents JSS issues

The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape was a human-pulled carriage journey that re-envisioned the eighteenth-century traverse of the picturesque landscape, the subject-objectification of the view, and the imperialistic impulse behind the voyage pittoresque. This artistic experiment visually, kinaesthetically, and performatively explored the transformation from landscape to image that formed the basis of modern perception, as part of the colonial legacy inherent within the picturesque view. The Grand Tour carriage was pulled by human labour, evidencing the forced labour economy that impelled the European Enlightenment, while demonstrating in human terms, the use, abuse, and commodification of human and non-human animals. The Grand Tour proceeded from Binche to Brussels to Antwerp, Belgium in 2022. The Grand Tour experiment investigated the eighteenth-century picturesque gaze, which travelled unchecked over the landscape in industrialised Europe, a harbinger of the annexation and enclosure of land that had been commonly owned, traditionally used, or publicly accessible, while portending the colonisation of lands abroad. The picturesque gaze, an imperialist mechanism, still fragments the landscape, excising two-dimensional pictures from the three-dimensional world around us, a vestige and augur of the destruction of lands, cultures, and peoples. Shifting between early modern and contemporary perception, The Grand Tour bisected space and time in a cleaving manoeuvre, creating new fault lines in which multiple planes of space-time might co-exist. This experiment tested whether a new neo-picturesque framework could be forged in a dimension of space-time that alters according to the perception and orientation of the traverser, casting contingent new imaginaries into physical and psychic realms where they may or may not become realities, according to Arno Böhler’s philosophy as artistic research approach (2019). This experiment envisaged a plurality that did not exist in the eighteenth century but may have already been limned in its myriad contradicting, contrasting, and diverging modes of sensing and experiencing the world around us in a relational and now relative notion of space-time. Download Accessible PDF

This exhibition presents an investigation into the folk music and dance practice polska, involving a group of Swedish folk musicians and dancers. The investigation employs optical motion capture (mocap) to explore interactive music and dance performances and create innovative artistic expressions by merging traditional practices with contemporary media technology. As a musician working closely with the dancers he plays for, the author explores ways to mediate dance through the sonification and visualisation of movement data. The focus is on the fundamental connection between sound and movement in this performance practice, particularly showcased in the project's centrepiece, Dancing Dots. Documentations of this and other works included in the exhibition present live music and dance with sonic and visual displays derived from mocap data, asking how such multi-modal mediations can facilitate understanding of the interplay between movement and music and open new avenues for artistic expression in this folk music practice. The use of optical motion capture is contextualised as a means of mediating music-dance through narrow streams of movement data, and the exposition introduces a web tool for accessible sonification of folk dance. The exposition applies music and dance theoretical concepts in designing the movement mediations, examines their relevance in an artistic context, and grounds the results in a practice-based understanding of the rhythmic/metric framework of the Swedish polska. Download Accessible PDF