Okay. So, good afternoon, everyone. I've designed this presentation both for people who know my project as well as people who just come in and have never heard of it. So, I'm trying to address different levels of this. And the purpose of my presentation, I want to keep an eye on the time, okay, is that I've decided to have a computer with me to show some images about my practice. And I'll briefly show you why my project must be an art-led practice. Then come to the poster, which is my poster, it's the green poster in the center and finally and and conclude with some reflections on what i've kind of the the conclusions i've come in the past months based on the experience of the years of the phd and what i'm searching for in order to come to an end of the project. And let me see how big, all right. So my project is an art-led based project. So the materials of my work and the practice are extremely important and therefore I thought it is really essential to show this. And unlike Juliane's project, my project is not based on pre-existing work, but it is a work in the making. So the projects I make are actually helping me identify how I work with data. So I will show you images without saying much about the projects because it's more for you to collect visual impressions of how I work. I'm a musician. Cello is my first instrument. And besides working for my PhD, I write compositions that are either site-specific, for example, in the case of... You can see? If I can see people nodding, then I know, okay. So either I work site-specifically, I work with notations, for example, what you see here below the cyclists are chalk drawings on tarmac. So I study very carefully the environments in which I work. And I also use, for example, this is a solenoid-based percussion instrument. So in the case of this bridge, I was working with the substrate of the place where I was performing. So there's a mixture of classical forms of music making through conventional instruments, notations, and live performance practices. Then there's another aspect of my work, which is, I'm going to scroll up. So I work with objects and sculptures. And this is a very early work, which I think Claudia probably saw from the past. So I've been working with tubes as a shape, as a thought shape. And this was my bachelor work in which I work with balance and tension. So I've actually been working with string and object and tubes in combination for quite a while. And now, it's like an association. I'm basically showing you a chain of thought. This sculpture was completed in 2019. And then, this is another example of work with string and tension and tubes, self-balancing. And then, over the course of the years, this practice-laid work leads you to kind of connect things. So I've actually realized there was space inside of these objects for me to perform inside and to see what kind of sounds do you make if this tension acts on your body. So these for me have been absolutely revolutions in the way I think and in the way I can act as a performer. So these three examples that I've given you here are to show you how I believe there is actually no border between the sculptural practice and musical practice because if you let time pass and keep really insisting on the relationship you have with these objects you can actually get to these combinations now i take you to another story which is um where can i go i'm going to select something okay yeah the other aspect i've been working on with tubes is on their resonant properties here maybe there's somebody in the audience from cyprus this is a project I showed last year with Manuela's project in Cyprus, in which what you see me doing is I'm hovering two tubes on top of each other, and there's a complex kind of mixture of pre-composed and improvised music going on here. And I'm working with a feedback system between microphones and speakers, and I'm using filters as resonant bodies to filter certain frequencies or amplify certain frequencies and in the meantime sort of in the while I was developing these musical performances I've also been working with tubes so I hope you're not getting motion sick this is the only disadvantage of this format of presenting. I've also been making tubes out of wax. These are, for example, some examples, beautifully documented by the photographer sitting at the back of the room. So I've been working with wax as a material both indoors and outdoors. Also, well, I have to go through, but it's just a kind of train of impressions. These are also sound installations, so they're just being documented as pictures. And I've been producing tubes also out of paper. This is my latest work where you see both tubes out of paper and out of wax. Now, all of these stories are stories without any context, but actually all of these works are extremely conceptually loaded. And here comes the, I think I should just go to a dark space, but I'll leave this image. So this is a practice that really, that is my daily life. But all of this can be filtered through actually what goes to my PhD project. And the PhD project is filtered through the lens of my work as a neuroscientist in the field of chronobiologist. And for the PhD project, I knew I wanted to still have a strong relationship with the data of chronobiology, but not to produce new data. And so basically I created a framework to have a parallel a little bit with this categorization. I was also trying to search for a frame in which to work. And so I thought whatever feeds to my PhD will be related to this field. I thought whatever feeds to my PhD will be related to this field. And chronobiology, for you who maybe are not familiar with this term, is a field of neurobiology and biology that is concerned with time, perception of time of living organisms. And the element I was most interested in this whole field, being a researcher myself, I was maybe somewhere floating between matters of fact and matters of concern, because I grew into this field because I was so concerned with it, is a phenomenon of jet lag. Not so much because I'm a fan of flying across continents, but much more because jet lag is the moment in which we see how the body cannot quickly adapt to a new external environment. And this poster is about jet lag. So I thought very intensely, in a graphic form, how can I translate this phenomenon? So I have kind of a dual reading of this. You can look at these two streams that you see running in parallel next to each other. They can be seen as a stream of environmental rhythm and of a body rhythm. And at a certain point, so they're kind of running in parallel until here. And then from this midpoint, here something changes in the rhythm. So there's a longer green phase, and this other rhythm doesn't follow and only synchronizes at this point. And the stripes you see are stripes of text, so these tiny, tiny dots are texts from publications I read while I was trying to come up with this idea. And so I stopped, I copied all the texts, excluding formulas and numbers because it just looked very confusing when I had this in. And the image I plotted on top is another form of representation. So usually in the scientific convention, rhythms are usually depicted as sinus curves. So I also like to play with these conventions. And it's the first time that I depict this phenomenon that I'm interested in as an image. Because usually and here I close the loop because I would actually like to open the space for discussion. Actually the format I'm working on in my PhD to bring you back to all this material that I showed you, practice that I showed you before, is that I'm trying to use all of these elements that are my working materials and my working practices as a space in which to manifest phenomena such as jet lag, which in this case is represented this way, in an experiential way. And here I come to the conclusion basically because what I've been in the past over the past few years what was really complex was that I was trying to figure out what is the right I work as a performer and I work in the format of installation how what's the right format for me in order to bring this depth of complexity of the facets of chronobiology how do i speak to the audience about it and what is the right medium and so on and i think i'm going to zoom out because the last project i did i think has given me an answer to this i find i've basically what i did is you have seen this image in the middle now hovering this was a fixed installation and within this installation which had all sorts of i mean i this i can go into detail later if you need to i performed um i played improvised sets again using this feedback system so you see it depicted here i invited a guest musician to play with me and i organized a sound walk around the space in order to open up discussion space. And there was also a panel discussion with invited guests who have taken different angles on the conversation. So for me, this was really, this has been, I would say, this is the format of installation plus performances in the concept of installation seems to be the way to go. What is still very open, and I would like to maybe have, if anybody has previous experiences or just ideas concerning this, is in the format of a PhD, it's also about archiving this knowledge and about finding a medium to carry this growing knowledge. What would be the right medium? And I'm still thinking that a record of the sounds, I mean I've shown you anything, I haven't played you any sound but I'm really struggling to find a way to make this knowledge accessible to others because artistic research is beyond just researching yourself, it's about making this knowledge accessible to others. So these are my questions and I would invite Kalia. So as I said, I jumped in. Thank you. I really just decided maybe 20 minutes ago that I will stand here. After this short lecture of defense, I was a bit scared because I have no lecture of defense now here for your work. But I noted down some questions. Maybe the nature is quite general of my questions, but I would also encourage the audience to jump in as well and have some questions for you because this work and the body of your work is quite complex and I always wonder how can you be so many persons in one person and I know you actually as a graphic designer which which you don't mention here but is also connected to all of your skills and the scope of your work um so i wondered i think being you you're a perfect prototype of being an artistic researcher because you have been in touch with the classical sciences before and now as you are half in the musicians in the same time all the time you have access to both ways of thinking and also rather embodied ways of thinking which i think are not encouraged in the classical biology classical sciences so my question is um it feels like you do something that could a band or a group of people do um you still collaborate but do you feel that you collaborate within yourself with all your other selves in the process of producing knowledge do you jump from here to there or is it is it is it all compound in one body of a researcher or are you in the morning you are the the neurobiologist and in the afternoon you are the musician and they have something like a dialogue going on. Can you elaborate more on this way of how do you work out your questions? Yes, it's a nice question. I think what I would like to reply, I could say many things, but the thing I choose to say is something that allows everybody who has been in this room for the past hour to grow on what, for example, Juliana has said before. So I think what I chose at the beginning, which I think was an important choice, was not to work with new data. So for me, for my own peace of mind, I thought what I want to do is to keep in touch with the field of chronobiology by studying texts. Yeah, I didn't even say this. Studying texts that other people have written. So both this poster is, well, this is more like what reading has led me to design, right? But usually the construction, the rules of my installations, the basis of my compositions is studying first, reading lots of texts that have already been published. So the data has already been analysed by somebody else. And then based on what I find, if I read and read and read and when I find something that has a beautiful twist to it, and I think, aha, that would just be a wonderful thing for sharing with other audience, then I stick to that, and I try to find ways to translate this. So I haven't actually opened up the way of the methodology of this, but I would say that that is one way of reducing the scope, because if I were also producing data, I don't know, I would get very that is one way of reducing the scope because if I were also producing data, I don't know, I would get very lost in it. And I really like to have, to use somebody else's analysis as a starting point and their story as well because it's, and then what I'm doing is to tell the story that somebody else has already told in a scientific paper in another medium. And I find this personally very enriching. And I think it's enriching for people who visit the work as well. Because they always ask me for comparison. They want to see, oh, where does it come from? So I would say that's, for example, one way of limiting the scope. Yeah. And the other answer, I tried to be a little bit shorter is that i think it helped manuela strongly encouraged me always to keep stay not to try to split up my personalities but to keep them together i think this was a very good reminder and i think it's also my financial means are not so huge so i live in my atelier and I live with my instrument so if it everything always lives together then it's kind of one life and not so split up maybe if I had a posh studio with all my tubes then I wouldn't have come up with these ideas I don't know yeah so of course I'm reminded of practices of John Cage in your work and how to approach music and musical composition and questions of notation and then I was reminded of his thesis of how to create stolen I think from Sister Chorita Kent those manifesto of artistic creation and one of them says don't create Those manifesto of artistic creation. And one of them says, don't create and evaluate at the same time. And I think this is speaking about a very general problem in artistic research. You started off as being an artist and a scientist, but now they come together. How do you deal with your, it did did it first did it change your artistic practice and how do you deal with the matter of documentation as you are an artist and you know this all feeds into my artistic research did it change your practice and how can you work on that that you are the observer and the maker creator in the same time yes it's i don't have a solution to this and i think it's i i realize i struggle with this especially in communities in which um the notion of writing about your work still gets considered as stealing art critics role so i find it's sort of easier in padded communities that don't it's easier for me not to have to defend too many layers of my practice and where there is a certain consensus of the quality of artistic research but this aside my technique has been to use temporal space as a way to distance things so i've i try to work into seasons and not to so i write about how i work this sort of autoethnographical method is at the moment still the method i'm going for although there might be something better i just don't know um so i try to space out the production period from the analytical period. This has been so far the approach. I'm always looking out and checking out how other people do it because it's a very controversial moment. As you just mentioned it, the autoethnographical method. Could you elaborate more on this? So how is this creating knowledge and how is this creating different knowledge? Maybe, I don't know if everybody is familiar here, but I think it's good. I'm only using a graphic because I think it's through, I produce this graphic for a poster and basically I can, it's just to expand and I think then we can close on this. So usually, oh, would it be possible to visualize what I'm showing? If you can switch it on, thank you very much. So, if you're looking, this is a flow, sort of cybernetic diagram depicting the way in which I work. So I start by reading source text and finding aspects of my research practice my artistic practice that fit to to the text i want to translate i produce i call this process transmediation and i produce an exhibition or an installation or a performance that transmediates this work. And here we are. So this is what Claudia has asked me. How do I do this reflection on autoethnographical? For me, a really important reference right at the beginning of this text comes from a transmediation analysis method by these two authors. I have the reference right here. They're actually literature theorists or translation study scholars, and they've come up with a rather simple method of describing works on the basis of key parameters. And I thought it's not very, as far as I know, not many artists have have used it but I think it's a nice method to borrow from an artistic perspective in order to have a kind of grid to go about writing about your work so this has been my basis I have a short one I really like the poster and the jet lag story and the word that I've been thinking about when I thought about like what's a red thread or like a thread that runs through your works I've been thinking of the term rhythm so there's a rhythm in the music there's a rhythm in the music. There's a rhythm in the jet lag that gets disrupted. And I was wondering if this metaphor of rhythm can also play a role in the documentation. And then I was just drifting off and thought like, oh, this rhythm that's disrupted in our body, like the metabolism, right, the heart rate, like how can we, when you don't know someone, it's jet lagged, like how could you measure it on like a neuro kind of level, right, the disruption of this rhythm of the inner clock. You mean how it gets measured? Yeah, or where it shows. I mean, metabolism is an obvious one, right? Well, actually, I can tell you because I read all this stuff. Amazing. No, they don't know, but usually it's fatigue. I think this is a beautiful image. So you can't put a finger on it but the body is tired or it's confused or can't learn or it can't memorize or lots of research in the medical field has been done on sports people because of course there's an interest that your athletes are the top state when they fly to japan from linds and so do you send them a week in advance or two days in advance so i think um, I mean, besides, I'm not promoting scientific work on jet lag, but it's also very interesting that the literature that I find all has to do with optimization of either business people or sports people. So I can't, there's not much, there's not much, literature is mostly focused on performance and fatigue. Let's keep this image, I think it's good. Thank you so much for the presentation. I want to start to hear the music. I want to ask if you think that this piece is also a score? I suppose that imagine that the artist need to perform this after a jet lag. So it came directly through the airport. It could be also a choral maybe. And also it's an artwork as it is. It's a print art for me. And then it's opened another relationship between science and arts through all the history of visual arts and concretism. It's a score that you can have it in your house and it's beautiful and I will give you the lecture of that piece. But also relating all the obvious searching in sculpture and sound, I want to ask you if you think that, or if you tried that the piece, the installation to be a score first, and then to mix both, if you, because you work mostly with tubes, but this thing is going differently because it's very round and if you just try to work with 3D printing to achieve this kind of form and maybe to mix with also with the servo motors and you should just write that if you're thinking on that or it makes sense actually. Yeah, no that, I think it's a beautiful thought. I can just keep it in my memory. Thank you. Thank you. Thank you, Luang, for improvising.