Research Catalogue

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

I dedicate this work to Robin Wall Kimmerer’s call for acts of restoration for our damaged planet. In my project, I choose song composition and performance as a way to find pathways for personal and collective restoration. Through the methods of artistic research I write songs inspired by my experience of ecological grief, academic reading, interviews to song composers, and journaling. As a contribution from my work, I present a new compositional methodology, Sonic Geographies of Hope. This methodology calls for song composers to write songs grounded in personal and collective grief of our damaged planet. I suggest that these type of songs can become an act of restoration and create collective resonance for more hopeful ways of existing and experiencing the world. This methodology is heavily influenced by the work of A. Hazelwood and her methodology Geographies of Hope in Praxis (2020). While I draw inspiration from this methodology, my work focuses mainly on emotional geographies. This work represents a starting point to explore song methodologies that can nurture immaterial geographies leading to concrete, structural ecological restoration. It is an exploration to find ways to restore yourself to continue to fight for the dignity of the places, more-than human life and people we love.

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.

Through a series of photographic assemblages that focus on texture, depth, and atmosphere, “The Oracle of Delphi” documents interactions between these assemblages and AI language models. The work demonstrates specific ways that current AI systems struggle to comprehend material qualities and contextual relationships in personal narratives, particularly when dealing with dimensionality, surface qualities, and emotional resonance. By analyzing these limitations, the work reveals the gap between human and machine perception of materiality and affect, while suggesting potential approaches for developing more nuanced human-machine encounters. Through these material encounters and a deliberate “kinking” of established patterns, the work demonstrates how algorithmic systems might be recrafted from processes of reduction into expansive sites of co-creation and possibility.

This virtual exposition partially concentrates the experimental works developed during the doctorate in musical performance. Based mainly on the theory of transcreation of Haroldo de Campos (1962-2003), the topic of virtuosity is approached from artistic gestures trying to raise the discussion on what it means to be a virtuoso in the contemporary musical world. Paradoxically, iconic piano technique studies were chosen as the main material,this transcreationist interpretation allows traditional material to be permeated not only by contemporary means and aesthetics, but also questions that reflect on the tradition that made the emergence of these studies possible.

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