Research Catalogue

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

An analitical overview over some key works from Stravinsky with the goal of selecting few elements that can help my compositional journey.

This exposition emerged from my participation in the second interval of the Simultaneous Arrivals (Simularr) Artistic Research Project—a research project inviting international artist-researchers to explore relational, situated, and process-based inquiries in dialogue with core researchers. Core researchers: Nayari Castillo, Hanns Holger Rutz, Franziska Hederer, and Daniele Pozzi. For the second interval, the visual artist and researcher Elena Radaelli and I were invited as visiting artist-researchers. (More information on Simultaneous Arrivals: https://simularr.net/about/) The exposition presents my process during the residency, i.e. my Traces and Paths Towards a Singularly-Plural Companionships. The eight-week residency (3 March-30 April 2024) took place across three sites: Graz (Austria); Lecce, San Cesario (Italy); and Klagenfurt (Austria). The exposition traces this journey through various mediums, including texts, graphics, video and audio material experiments, field encounters, and theoretical companions. My processes, are informed and shaped by my companion collaborators—human (research-creation companions), more-than-human, textual, and material—who co-inform and co-create the unfolding of the research.

PhD Candidate: Sidsel Christensen Project title: INTERDIMENSIONAL ARTISTIC REFLECTION: Speculative movements through Spatial, Digital and Narrative Media Period: 2020 - 2024 Host institution: The Art Academy – Department of Contemporary Art, Faculty of Art, Music and Design, University of Bergen PhD supervisors: Brandon LaBelle, Frans Jacobi and Sher Doruff

This exposition brings together the epistemologies of art-making and translation. It presents a series of artworks the curators commissioned for a travelling exhibition on ‘Experiential Translation’ (2022-2025). Many of the works were created under the auspices of the Experiential Translation Network, which facilitates collaboration and exchange between translators, writers, poets, artists and scholars from across the globe. The concept of ‘experiential translation’ as elaborated by Campbell and Vidal (2019, 2024, 2025), highlights embodied, multimodal communication as a performative inquiry into meaning-making. Blending art and translation practices, experiential translation values materiality, participation, and co-creation. Rather than mere transfer of meaning, translation is seen as a process of discovery, research, and knowledge production, embracing the unknown and exploring that which escapes language. Encouraging a rhizomatic viewing experience, the exposition is structured into three interconnected thematic 'rooms', Serial Metamorphosis, (Un)repetition and Ludic Translation, which can be visited in any order, or even simultaneously. The exposition includes video art, performance, (interactive) installation, sound art, poetry, painting and photography. This work was supported by the AHRC under Grant AH/V008234/1, awarded to Ricarda Vidal (PI) and Madeleine Campbell (Co-I) . Ethical Clearance Reference Number (King’s College London): MRA-22/23-34543

I explain "microtones" as the sounds between the piano keys, making it universally understandable. This widespread understanding through "piano keys" demonstrates how the 12-tone equal temperament (12-TET) has become standardized as the dominant system. When 12-TET was introduced, it created a hierarchy where diverse sounds were forced into a rigid system. Other sounds were marginalized and coded into one of the twelve tones, physically embedded in the piano's keyboard. As a result, pianists became subordinate to these physically embedded conditions of the piano. In this project, I attempted to dismantle this organizational principle. By deterritorializing these fixed tones and liberating the peripheral sounds now called "microtones," I explored not just the piano's timbral possibilities, but also the interactions that emerge in these spaces - between sounds, between people, between cultures... Through collaborations with over 30 composers, I discovered that microtones exist in the "ma" (space) between standardized tones, representing voices that don't fit into established systems. What began as an exploration of piano timbre evolved into an investigation of humanity itself, generating new meanings through ongoing dialogues and discoveries.