Research Catalogue

In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.

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.

I dedicate this work to Robin Wall Kimmerer’s call for acts of restoration for our damaged planet. 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 this 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. While it is inspired by it, it focuses mainly on emotional geographies. This work represents a starting point to explore Song methodologies to nurture immaterial geographies for 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.

Here are some examples of outputs of the Solresol Birsong Translator. This forms part of the work presented for a PhD at Newcastle University. A device was built that ‘listens’ to birdsong and translates this into human speech utilising the obscure musical language Solresol (François Sudre, 1866). Birdsong is analysed and converted into musical notes (one octave in the scale of C Major: do-re-me-fa-sol-la-ti). These seven notes are grouped to form four-note ‘words’ that are looked-up in the Solresol-English dictionary. Each note also has a rainbow colour assigned to it. In a variety of configurations, the device can output the birdsong, notes, music, translated words, and colours. Text and MIDI (music) files can both be saved for further output or processing. The software can run in a variety of modes and on a variety of hardware, including PC and Raspberry Pi. It can make use of both live and recorded birdsong.

This project identifies a shortcoming in the range and coherence of the language that musicians use, in particular the Norwegian instrumental traditional music (folk music), when they aim to communicate the craft elements of their practice. The Craftmanship project identifies craft as deep knowledge that is a result of skills based activities that again result in tacit knowledge. This knowledge has traditionally been communicated between practitioners or from master to apprentice through a series of subtle cues, ideas or metaphors, which resist language – it is learned through experience and a form attunement between the participants. The project therefore, proposes to develop a vocabulary, based on and drawn from a practitioner’s perspective, through the “languaging” of keywords, and a critique of scores in order to revitalise the transmission of this knowledge for a new generation of musicians. Furthermore, it proposes that when attunement happens, it facilitates profound moments in performances, where the musician and audience reach a tacit recognition. The project proposes that these moments, colloquially described as ‘Magic Moments’ are the aim of most musicians in performance situations. These moments are often dependent on social situations. The project aims to construct a framework for further investigation of the contexts within which these moments manifest themselves.

This thesis explores how late-diagnosed autistic individuals and their close circle can redesign their relationship after their diagnosis through communication that aligns with autistic ways of being. Grounded in the neurodiversity paradigm, the social model of disability, and the double empathy problem, the research combines interviews, co-creation sessions, and visual storytelling to uncover emotional and relational dynamics during post-diagnosis identity shifts. Through a neurodivergent lens—rooted in sensory awareness, pattern recognition, and visual thinking—this work challenges deficit-based narratives and proposes a compassionate, co-created communication framework. The goal is not assimilation but mutual understanding: enabling autistic individuals to embrace their authentic selves while guiding loved ones to meet them with compassion and openness. Ultimately, the project reimagines design as a tool for creating connection, not correction—honouring difference, restoring balance, and building inclusive systems where all ways of being are valid, visible, and valued.