These lines of research remain open to ongoing expansion through project-based work, relying on collaborative processes to broaden their scope and deepen the research.
Software that enables the identification and tracking of bodily movement, using either a live camera feed or a video file, and translates this movement in real time into musical notation and sound synthesis. The aim of this streamlined process is to minimize the creative separation between dance and generated sound, and to establish connections that allow the performer to interact in a more intimate and direct manner with live sonic material.
Pluriphonic Sound & Spacialization
Multichannel-sound installations, examining how diverse algorithmic synthesis strategies can be used to propose and evaluate different modes of sonic materialization within space and their dynamic relationship with the audience. Through these installations, sound is conceived not only as a temporal medium but also as a form of spatial matter capable of articulating proximity, movement, and presence.
Spectral Materiality: sculpture-diffusion
Intervention of architectural and performative spaces through single sound-source systems, aiming to expand and rearticulate the sonic–spatial qualities inherent to architectural environments. In this framework, sonic matter –or what I call spectral sculpture– is conceived as an interventionist presence, establishing an immediate and reciprocal relation.