This paper proposes auditory roughness as an analytical and performative lens for Renaissance vocal polyphony, reframing consonance and dissonance through the perceptual effects of spacing, timbre, and tuning rather than abstract proportional systems. Combining score analysis and computational modelling, it distinguishes notational constraints from performance-dependent variables to clarify both the uses and limits of roughness as a tool for understanding polyphonic texture.

A lecture examining how counterfactual thinking, multiverse theories, and Renaissance contrapuntal techniques intersect to produce a model of artistic worlds structured by choice, exclusion, and possibility. Through Barads agential realism and Lewis/Everett-style modal realism, it reframes musical counterpoint and falsobordone as systems where agency emerges from branching constraints and structured absences rather than discrete authorship or fixed outcomes.

A lecture exploring how late medieval and Renaissance polyphony intersects with the rise of visual perspective, treating musical notation not as neutral transcription but as a visual-technical system that actively shapes meaning and perception. It draws parallels between compositional techniques, anamorphic art, and early modern theories of representation to show how both sight and sound stage deeper questions about mediation, ambiguity, and the limits of knowledge.

A performance-lecture exploring how Renaissance musical canons, visual perspective, and anamorphic imagery construct shared models of transformation, where a single structure unfolds into multiple temporal or spatial realities. Through live musical demonstration and historical examples, it argues that ambiguity, distortion, and proportional change in both notation and image actively involve the practitioner in generating meaning across shifting perceptual spaces.

This essay rethinks immersion through Renaissance practices in music, visual art, and cosmology, arguing that immersive experience is historically rooted in techniques of perspective, concealment, and revelation. By tracing miniature devotional objects, polyphonic canons, anamorphic puzzles, and early cosmological models, it shows how different disciplines repeatedly construct immersion as an active epistemic process involving the practitioners perception and interpretation.

A talk developing anamorphic listening as a framework for understanding late medieval and Renaissance polyphony, linking musical notation, perspective, and visual distortion as parallel systems of mediated perception. It argues that canons, mensural puzzles, and anamorphic artworks all actively involve the observer or performer in the decoding of layered, shifting realities, where sight and sound become intertwined modes of interpretation.

This talk situates contemporary multiverse thinking within a longer Renaissance genealogy, arguing that early modern astronomy, metaphysics, and the arts already developed their own “plural worlds” through perspective, cosmology, and contrapuntal invention. It highlights how canons, anamorphosis, and philosophical models of plurality functioned as cultural technologies for exploring identity, perception, and agency in ways that strongly anticipate modern scientific and artistic multiverse discourse.

A lecture exploring immersion in Renaissance liturgical soundscapes through ritual theory, cosmology, and visual perspective, arguing that immersive experience emerges from historical systems that fuse perception, belief, and spatial transformation. By connecting polyphonic canons, anamorphosis, and multiverse cosmologies, it frames immersion not as an aesthetic effect but as a participatory epistemic structure that binds performer, listener, and world into a shared field of meaning.