Abstract:

This is an exploration of “multimedia musical notation” to simulate improvisation with important emphasis on interdisciplinarity in research and musical composition. My contribution involves crossing disciplinary boundaries based on material and corporal practices that have shifted across time to create epistemic and aesthetic spaces which allow for expression and understanding of various rhetorics, forms of knowledge, local histories and memories beyond dichotomous assumptions.

The principal project for this research-creation, informed by feminist new materialist and postcolonial theories, is an abstract multimedia musical piece which consists of an interdisciplinary composition -with collage imagery/sound/pictographs/symbols/text- for an Augmented Reality Codex. This piece highlights different situations where I have observed the presence of the education as an agent of domination in the post-colonial context of today’s Colombia, Canada and/or Iran. I use the photography as a starting point because of the potentiality of the image to divide up the literal reality into units and to constitute these units as signs, I then transform the images into forms/abstractions and codes in Augmented Reality. The multimedia presentation itself should be considered as a musical piece with its hermeneutic message and demands to interpret a code and functions of a sound in an extremely complex way. By means of this interdisciplinary composition, I aim to inter into the post-colonial discourse and criticize the systems of cultural domination, epistemic injustices that occur through the cultural violence, the emergence of colonial structures of knowledge and dominant technologies into the education and the ways in which the technology itself has become an agent of ordering and structuring. Within this research-creation, I explore the disciplinary and cognitive boundaries between music and visual arts – by suggesting the “semiotic” mode of listening- in order to open up the possibilities for knowledge/meaning production in music and to explore the ways in which colonized subjectivity is constructed contemporarily through complex power-control relations in the oppressive/colonial processes of normalization, social construction and appropriation.


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