Research Catalogue

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-one (20+1) digital photographs of the studio, for twenty (20) missing Albanian and of Albanian ethnicity, non-EU immigrants; as well as one (1) missing Italian citizen. Golden Dawn has taken responsibility. The twenty-one confirmed persons, whose details got stolen were abducted by mainly Golden Dawn and, secondarily, the NRM; they are deceased. A new addition of one (1) more fake passport, Greek, of a woman of Greek citizenship abducted, most likely by Golden Dawn, circa 2022: making it to a total of twenty-two (22). 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. 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 reflects on how machine learning can be integrated with algorithmic composition and live coding to expand digital music creation. The research examines how ML-driven sound analysis, training data, and interactive models reshape compositional workflows. By viewing machine learning as an interpretative and generative process rather than a mere tool, this project challenges conventional boundaries between data gathering, system design, and artistic practice. The discussion is framed through experimental approaches that merge sound synthesis, live coding, and model training, questioning how algorithmic systems can act as both agents of composition and reflective mirrors of musical intention. Through the interplay of structured data, generative models, and exploratory workflows, the study situates machine learning within a broader conversation about creativity, computation, and the evolving role of the composer-programmer.

A visual map of the RC. Hover over a screenshot to see the title and author. If you click you will see a gallery with a screenshot of each of its weaves. There is a form which allows you to filter based on title, author, keywords, abstract and date. For an exposition to appear in this map, it needs to be public (share -> public or published). The map is updated once every 24 hours. There is an alternative map that allows you to browse all research by keyword.

How can groove influence ballet language to bring forth movement signature and support new meaning? I aim to uncover how groove can bridge classical form and movement signature by developing a method based on groove, revisiting ballet terminology, and allowing the performers to find their movement signature. Resilience has emerged as an accompanying concept that provides a base when generating movement. I research, create, and perform work that is anchored in Western Contemporary Dance. In my practice, I search for connections between the dancers, the concept, the music, the rehearsal process, and the performance. Questions I ask myself are: What are threads that help all involved connect to the work meaningfully? And how do we all come out of the creation with a sense of authorship? I often invite personal memories of the dancers into the work to make it more relatable, finding that commonalities emerge to connect us. The themes I base my concepts around are identity, finding a place of belonging, home, and womanhood. I have chosen to approach this research with varying lenses: my personal experience both in life and in the studio, through poetic writing, relating to thinkers and choreographers, and through the creation of Lost Threads. There is an analytical approach through depicting what in groove can serve ballet. I have based my research on music theory and transferred knowledge to an embodied practice around groove. I have analyzed the biomechanics of ballet movements, precisely 8, adding how language can contribute to another level of experiencing movement. I define resilience as the process of finding one's centre, and how the process toward equilibrium can be used to generate drive and inspiration, relating this process to choreographic scores and improvisation. The counter side of this research is the poetic approach I have taken through writing and sketching. This world offers further possibilities to uncover more knowledge on the connection of ballet and groove, performers and movement signature, resilience and improvisation. I’ve come back to my roots of ballet and gone deeper into the ground, emerging with an innovative practice through groove. Daring to search for innovative ways of bending classical form. Fontys Academy of the Arts, Codarts, Master Choreography COMMA, Master Arts, Cohort 4: 2023-2025

Thesis of the Royal Academy of Art, The Hague, 2024 BA Photography My research paper, Do Androids remember they once dreamed of Electric Sheep? investigates the interplay between artificial intelligence and human cognition, focusing on the theme of "dreams" as a metaphorical and literal framework for understanding large language models (LLMs). Starting with a personal reflection on the nature of knowledge, the research probes the philosophical question of what can truly be known, using the enigmatic functionality of LLMs like ChatGPT as a focal point. It challenges traditional views by comparing the often-unpredictable outputs of LLMs to the elusive and revealing nature of dreams.

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