Research Catalogue

Design, 1995-96, 2023. Design, 1996-97. Photography, 2010, 2011. Essay, 2015. Collage Text, 2022. The exposition serves as commentary and guide on the place of art, in a gradually environmentally and technologically challenged world. The re-design proposal, inspired by De Stijl, illustrates the modernist historical view that art appears to be regressive, rather than progressive: as soon as a movement or a school becomes established, reaching its culmination, it starts declining. Finally, I have included a graduate school architectural design project in the archaeological site of Eleusis accompanied by new commentary. With essay about experimental film making in the British avant-garde, published in "Architecture and Culture" journal, 2015. About how to navigate this exposition: Scroll from top to bottom, then from bottom to top, then scroll to the top right, then scroll to the bottom right.

Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape. Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.

VARIATIONS II AND III The objective of Variations is for the contemporary opera in semi-formalism between Western and Non-Western, it explores cross-, inter- and transdisciplinary in Music and Visual arts, as well as architecture. After the corona pandemic in 2020, this artistic research in "Variation I" was started by the initiative of Lukas Huisman in Belgium, which focuses on the topics of the 20th century, on "Corona" (1962) by Toru Takemitsu. Multi-layered open score. Performance in the site-specific installation (in the real space). Variation I Variation II Variation III The research on post-minimalism (such as the difference and repetition in post-structuralism, as the philosophy of difference, as post-structural feminism*) is about exploring the research method, so it is not about the artistic style. There are no targets and no points for the score, rather on vagueness in the research. *A contribution of this branch was to argue that there is no universal single category of "woman" or "man". - Post-contemporary art for the Joint Artistic Research: Performance in the site-specific and spatial installation (in the real space) that will consist of the conjunction between gaps of the different artistic fields, mediums and techniques, and their materiality and dynamics. - The artistic approach of the Joint Artistic Research through the intersubjective connections in different artistic fields and their gaps: Social relationship, as well as the economy and social system immediate within the digital society after the corona pandemic, that suggests exploring the transformations which are new imaginaries, and which aims in the Joint Artistic Research towards the underpinning of contemporary social space. - Problems of cross-disciplinary artistic research: A problem in collective artistic research is contextualism and relativism in different artistic disciplines, that make it difficult to technically explore a new artistic dynamic. Another problem is functionalism, especially that which refers to multiple realizability in a cross-disciplinary artistic research collectivity. - Solution to cross-disciplinary artistic problems: For example, a collaboration with the composer and conductor Valerio Sannicandro regarding the research subjects of decentralization and sonic and visual space(s). The gaps between visual arts and music (composition): What is the specific creativity in each artistic field and in the individual artistic characters? How can we work dynamically? Therefore, we need to explore the new artistic method for the conjunction from the wide perspectives in each artistic field, that is the aim of the Joint Artistic Research "Variation II". In the case of Karlheinz Stockhausen, he explored "Lautsprecher Musik", it was a starting point of musical automatization. However, it was a new music method of monophonic and polyphonic, heterophobic texture and homophonic texture, and so on, for a multi-layered sonic space and time in a concert space, and was neither music nor symphonic orchestra. Rather, it was something new, sound and sonic texture as a new music composition in post-war. In the real space (environment), we can very simply de- and re-construct and transform "spatialization" into the multi-layered phonic texture as the musical and sonic expressions. On the topic of spontaneity, there are many possibilities and opportunities for combining diverse artistic layers and actions, such as by humans (performers or participatory way of randomness or interactive ways) and/or by nature. Thereby, the communication means vary widely. Subsequently, Variation III will be explored. This artistic research entitled "Silence surrounds us, silence around us" was started in 2020 after the corona pandemic. "X" is a new beginning of artistic research in the research series "Silence surrounds us, silence around us". I continuously explore the research method of "work in progress" in artistic research from the perspective of biology. (For a new geometry and a new topology in the arts in the 21st century). Transdisciplinary artistic research in the visual arts with architecture and music, with regard to transversal aesthetics. The keyword "ageing" in this artistic research is of philosophical consideration. For instance, as with "capital" in Marx's theory, or "immateriality" and "materiality" in capitalism, how is "ageing" viewed? What gaps exist between the cultural mentality and social condition? What role can art play in answering these questions? Therefore, my research investigation is through string theory as well as Einstein's special relativity theory in the 21st century, through which I attempt to explore the new value (as well as quantum value) of ageing within the capitalism of all democratic social systems and their ideologies for something new. (In the works)

This paper is focused on the development of a large-scale personal compositional practice centered around the concept of placemaking. Its content is focused on the relationship between data analysis, data sonification, and musical structure in the development of art which engages in a practice which I refer to as ‘sonic placemaking.’ In the end, this research intends to put this artistic practice in a space to interrogate the relationship between art and social change, both on small and large scales. The different sections of the paper will provide context and support for my practice's conceptual and philosophical background, drawing on related theoretical writings in geography, sociology, fine art, and composition while guiding the reader through my process in executing these concepts through works of multimedia art and acoustic composition — and, at the same time, actively questioning the ability of this process to influence social change and worldmaking.

During my master in Performing Arts at Stockholm University of the Arts, I have been looking into finding a greater presence, in a text based theatre rehearsal and workshop context. I have tried to look at things how they appear in front of me. A dilemma is, that when I afterwards try and look at presence, it has already gone. Therefore, I used different tasks/exercises, that can be recreated in order to try and catch presence again. When exploring presence in a rehearsal and workshop context, I found a few clues how to find/create presence and doing tasks in order to find/create a greater presence. In this exposition you can find some of these clues. They are all entangled with each other so one will not work without the other so please see them all as a whole. This exposition is a tangible ans embodied complement to my master essay.

Simon Rydén Documentation for the MA Project Navigating Noise at The Department of Performing Arts at Stockholms Konstnärliga Högskola. This project explored how different art practices from different fields cross-pollinate in the process of making interdisciplinary art. I want to trace how the process of exploration and thinking in different mediums create a dynamic interchange of ideas that leads to the development of new ways of relating to practices. I used different approaches and techniques, from somatic practices to experimenting with digital tools, to understand how different practices interact with and inform each other. The process becomes an intricate system of similarities and feedback loops, where one can reflect and interpret in many different mediums.