My work studies the relationship between ethics and aesthetics within the domain of sound, particularly at the intersection between sound art practices and psychoanalysis. In my doctoral dissertation, titled "Tempos beyond the Pleasure Principle: 20th century composition and the unconscious" (2016), under the supervision of Jairo Moreno, I examined the relationship between modes of thinking temporality and corresponding claims to musical knowledge in the late 20th century compositional discourse from a psychoanalytic, particularly Lacanian, perspective.

My current research project studies the intricate relation between sound and the formation of the subject of psychoanalysis as it came into being at the intersection of medical practice, psychology, technology, and aesthetics in late 19th century Europe via a critical engagement with the Freudo-Lacanian text. The Freudian corpus is a fascinating document in the history of listening, if only for the fact that Freud grounded his psychoanalytic edifice on the premise of listening to one’s voice; An object-voice around which he formulated a radically new discipline that cast into doubt the notion of a self-possessed subject, and which continues to resonate within our modern epoch.

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