Research Catalogue

Simple page for presentation on 13/12/2023

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 59 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp twist, as satirical comment, in the British tradition of political satire, to the otherwise dark subject matter. Finally, the artistic style refers to the populist character of actors, mainly far right of the XRW, but also others. The text is written like a trip-hop song. I use heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition is underpinned by an underlying Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For Nikos ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Daddy G", 'Eric' ("Her Man") and 'Prudence' ("Mole's Beau", or "Her Man's alter-ego") - December 2024, January 2025, May 2025. Who are not politicians, but are doing something political, so they must take care of what they do. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

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

How can counterpoint be computed? Instead of looking at counterpoint solely from a historical perspective and reducing it to "music trend of the past", the research contemplates counterpoint as generative technique while exploring its immense yet mechanical creative power through a small selection of case-studies. Finally, a few thoughts are spent on the meaning of rules in music and the role of the computer in historically informed practice is briefly investigated.

This research explores the intersection of music and visual art through the lens of Gilles Silvestrini’s Six Études pour Hautbois and the Impressionist paintings that inspired them. By critically analysing existing studies, interviews, and articles, this study identifies five key techniques composers and performers may use to translate visual elements into music. These approaches not only deepen the understanding of Silvestrini’s work but also offer performers a structured framework for interpretation. This theoretical framework formed the starting point for experimentation and reflection both in the practice studio and with live audiences. This process challenges conventional classical performance practices by examining the balance between a composer’s intent and a performer’s interpretative autonomy. While Silvestrini does not explicitly prescribe a connection between the études and their corresponding paintings, this study argues that performers should embrace their own interpretative choices, enriching both the performance and the audience experience.

In once-uniform, traces of life emerge a neighbourhood, built for order now breathes individuality over time, structure makes expression a slow transformation shaped not by plans, but by presence tiles, shadows, colors quiet gestures speak of daily routines people who made this place their own imprints, not imposed but lived together, form the memory of space a home grown into differencs