For some time my research on Tudor has been called "Forensic Musicology" because of its heavy use of physical materials to recompose performances that were thought to have been lost for good. That is one of the reasons I have been interested in the activities of Forensic Architecture which investigates the use of violence by State powers which in many cases are denied or obfuscated after the fact.

Investigative Aesthetics is a new approach to aesthetics that came out of Forensic Architecture. Its core idea is in seeing aesthetics not as a theory of beauty, but as an art of sensing and sense-making conducted not only by humans but by all entities including buildings, digital sensors, soil, missiles and so on, whose sensory capacities can be brought together to recompose events that authorities do their best to deny.

I am currently translating Investigative Aesthetics (Verso, 2021) the book written by Eyal Weizmann and Matthew Fuller, partly to keep my mind occupied on something productive and hopeful amidst the ongoing war in Ukraine which otherwise makes one feel utterly powerless.