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  Ways of expression: the impact of VFX technology on modern storytelling in film and interactive media production. (last edited: 2019) author(s): Rafal Hanzl connected to: The Norwegian Film School This exposition is in progress.
  The rapid development and adoption of digital technology expanded horizons of creativity and opened new artistic frontiers. The broad array of options can potentially have a negative effect, however, as artists can become overwhelmed by the means of expression enabled by new methods they could never have imagined were possible. Visual communication assists storytelling and should be used precisely to emphasize the desired features of a story. In filmmaking, visual effects (VFX) should serve as a creative instrument to strengthen the story and artistic vision and communicate the desired idea to the audience. Using VFX in planning and developing the implementation of artistic ideas can play a key role in contemporary art as well. This challenge of visual communication is all the more noticeable in an emerging medium of virtual reality. I argue that VFX tools facilitates solving artistic problems in the majority of creative activities. My project investigates the creative and artistic potential of the tools of digital manipulation. The research focuses on two key artistic creations: a feature documentary “In touch” and a virtual reality installation for the Lodz Philharmonic “The Road to Excellence”. Through artistic experiments performed in these two projects, I develop innovative creative methods for a new creative profession in the film and interactive media industry: a digital visual designer. My aim was to explore how this new artistic collaborator contributes to the visual universe of the artistic creation.
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  Performing with Plants - Att uppträda/ samarbeta med växter (last edited: 2019) author(s): Annette Arlander This exposition is in progress.
  EN This exposition documents and archives the artistic research project performing with plants. SVE Denna exposition dokumenterar och arkiverar det konstnärliga forskningsprojektet att uppträda/samarbeta med växter.
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• Q̶͈̬̿͝l̴̛̬̝̒o̵̰̍̔ǘ̴̼ḓ̷̟̓̅s̷̻̦̆Q̸̠̿͒u̷͓͚͊̽A̸̛̘͝r̷̖͈̀͝ṭ̶̏͘z̶̩̩͛,̶ (last edited: 2019) author(s): vincent roumagnac, Simo Kellokumpu, Outi Condit This exposition is in progress.
  *̷̳͕̈Q̷̣̽́͠ů̴͓̫͌Ḁ̴̝̋Ŕ̸̖̱ͅt̴̢͍̙͂z̸̛̲̩̊̿ ̶̤̬͐̌̃ǐ̵̧̦̈́s̵̱̚͝͠ ̵̨̡͕̏̓ȇ̴̘̙̚s̷̢͙͌̽̔t̴̘͕̊a̴̹̾͂̅b̷̨͙̿l̶̬͇̾̒̓ͅi̷̡̽̈́̎s̴͕͉̒͝h̵̞̦̏́̀è̸̘̙d̵̨͉̰̉̆͌ ̷̥͚́́i̵̜͛̚n̴͔͛ ̵̢̖͆̔̇2̸̥̈͗0̷̙̋̊̊1̵͚͕͈͑8̵̨̦̗̓̆͑ ̵̟̻̾́͜à̶͙̥͆̏s̴̗̞͋ ̷͔͔́ą̴͍͎͆ ̷͍͌̔c̸̤̉̃͗ŏ̷̢̩̘̚l̷͔̼͑͛l̴̼̲̖̇a̴̼̒͐b̴̨̺̪̐o̴̬̿ŗ̴̹̰̍͘͠ą̶͚͈͗t̶̞͉̥̍͘̚i̴̯͕͋v̶͍̋e̷̬̲̘͒̑̋ ̸̭̦̩̚p̷̨̻͇̋́l̴̮̹͓̆̒á̶͈͍̮t̴͖̅f̸̦͒̕ö̵͖̝́r̶̫̲̃͠m̷̙̗̽̀͠ ̸̯̀̊̈ḅ̵̾̓ÿ̵̱ ̸̩̿̈́t̷̖͈͚͋͂ḧ̴̭͉̖́̂͝r̶͕̝̱̈͑͗e̸͙̽͐̒e̸̞͑ ̸̤̺̘̒̐ǻ̴̠̼̹ŗ̷̱̬̔t̴̛̞̭͗͗i̸͕̊̑s̷̜̊͌t̶̡̲͚̀͗̽ṡ̵̖ ̴̹̃͒̈r̵͉̆̈́ë̷͇́̊͑ş̵̋́̀e̸̘̜̮̋̒͠a̸̺͊̃r̷͖̓͋̽c̵̱̼̥̐̃h̶͚̗́ĕ̷̯͍͍̚r̴̦̒͛s̴̱̈:̵̧̰̣̍ ̵͖̱̄ͅƠ̶̗̍͜u̷̟̟̞̓̈́ṱ̷͕͂͐̈́i̷̯͈̕ ̶̞̳̹͋͋C̴̰̒̈́ô̴͇̤̩n̷̙̎d̵͇̃̃͂i̵̧̟̣̋̃̊ṭ̶͆ ̸͙̐ͅ(̶͚̻̓́F̶̮̺͑͘I̷̘̥̰͋͗N̵̰̂/̷̨̦͋Ǔ̵̡̪̮̄̑S̴̨̀/̵̤̔̐̔U̵̙͗K̴̲̲͕̔)̷̙̍̀,̵̼̳͑̓̌ ̴͍̍͝S̴̱̿i̷͚̰̻͝m̶̜̲̏̌o̴̡̨̧̾̽ ̴̨̡͋K̸̜̭̙͒͌̇e̸͔͑͑ľ̴͈̻̟͊̾l̸̼̊ò̷͙͙̏̂ķ̷͌̊͜͠ù̵̧͓̯͋͂m̶̻̥̳̔̉̎p̷͈̬͗́̔u̵̺͋̈͘ ̶̳͗(̵̖̪̪͂̅͑F̷͇̘̈͝Ȉ̴͓͙̓N̷̦̒)̵̤̝̍ ̷͚̖̏͘͝V̷͎̎̕̚i̵̞̓̀n̶̮̱͐c̵̬̫̐e̵̠͖̤͊n̷̜͓̆ẗ̷̤̫̚͝ ̵̰̻̓̂Ṛ̶̂͂o̸̮͂͜͠ṳ̵͙̱̒ṁ̴̖͇̓a̷̤̗͂͝g̷̦̀͐̊ͅn̸̪̤̑͐͊à̵̟̞c̷̡̥̃̓ ̷̺̝͓͗(̵̺̞͊F̴̦̂̈͋R̵̨͓̟͒A̵͔̚)̷̰̉̈́̾.̷̦̳̣̏̀̂ ̴̫̥̆͘ͅT̷̘̐͠h̶̓͝ͅe̶̪͋̉̓ ̵̛̛̞̠t̴͔͍̣́͋͑h̶̛͈ṛ̸̦͑ḙ̸̫͠ė̶̤ ̸̗̂͆o̵̰̊̕f̶͔̈́͐̈́ ̵̛͍̭̀̈́t̷̡͈̆̚ḧ̸̡̝e̸̛̫̥̾m̷̡̢̳͌ ̴̧̬̫͌̈́ć̴͎̀͗o̶̘̔̍͋n̵̼̱̆̈́͒d̶̫̼̉̓̋ȗ̵͉̹͜c̴̥̫͂͒ţ̶̘͉̇̃ ̴̞͊d̵̲̜̗̈́ǫ̶̟̆c̵̨̼̭͂́t̶̨͙̂ố̸̰̿r̸̫͙͊̇̚ͅä̶͍́̂͛l̵̝̅̿̕ ̷̜̻͎̑̿̎a̷̛̬͌ŕ̸̳̖ẗ̸͓̤̹́̂ì̴̮̣s̴͙͓͙͋̊t̸̨̝͊̈i̵̗̙͆̀̓c̶̞͐̂ ̸̛͇̬͐̀͜ŕ̸̢͔̳̒e̴̗̼͙̋̋͝s̶̬̀e̴̗̹͓͌̉̓a̷̡̭̤̕ŗ̶͗c̶̟̀́h̸̩̦̤̀͐ ̸̙̺͖̚p̶̭̣̥͑̉̈́ŕ̸̢̧o̶̧̰̐͋j̴̨̰͋e̶̹͈͒c̴̠̺̮̎̑̌t̴̗̙͛̋̀s̷̮̖͊̇͝ ̷̗̑̏̎a̸͍̅͗͠t̶̖̺̱̋ ̴̖͎̪̾P̷͍͠ë̸̫͈́ͅr̴̛͈͆̅͜f̷͕͒͘o̷̞̪͒ͅr̸̭̍̓m̴̭̓̏͜i̶͓͍̙̚ṅ̴̦͍̒͝g̷̤͈͋̓̌ ̶͙͉̃̕A̷̬͖͖̐̉ṙ̵͇͌̂ẗ̸͙̫́̚s̸̝͕̅̈̎ ̸̦̓͗̈́R̴͐͜ḙ̵̟̹̓s̵̳̝͓̾͌e̸̪͐ą̴̥̇̊̒r̸͎̱̬͆c̴̰̹̱̓͗̄h̶͔̳͂̌͛ ̶͎͛̽͝C̷̡̽̃͠e̷̺̱̩̐n̶̨̺͙̆̄͘t̵͎̆r̷͔̰̅é̸͎̘̒,̵̡͇͜͝ ̵̙͕͐͘U̵͔̟̾ň̷̨͔̼i̵̦̝̮̐̕ạ̸̓̔ŕ̷͙̕ẗ̷͉̤̬́š̸̬̈́̊ ̶̰̙͔͌͋H̸̲͆̋̚ȩ̸͍͗̆̎ļ̸̡͈̈́́s̵͔͕̜̚i̸͎̱̙͆̄́n̵̠̿̉͜k̶͕͈̆̔i̸͓͑́͝.̷̦̟̈́̀̃ *Q̶͈̬̿͝l̴̛̬̝̒o̵̰̍̔ǘ̴̼ḓ̷̟̓̅s̷̻̦̆Q̸̠̿͒u̷͓͚͊̽A̸̛̘͝r̷̖͈̀͝ṭ̶̏͘z̶̩̩͛,̶ is established in 2018 as a collaborative platform by three artists researchers: Outi Condit (FIN/US/UK), Simo Kellokumpu (FIN) Vincent Roumagnac (FRA). The three of them conduct doctoral artistic research projects at Performing Arts Research Centre, Uniarts Helsinki.
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  Hans Schleif (2019) author(s): Julian Klein published in: Research Catalogue
  Among the members of the Archaeological Institute of the German Reich, the architectural historian Hans Schleif was notable for the extent of his involvement with the crimes of the National Socialist regime. His achievements in scientific research, for instance as director of excavations at Olympia, are overshadowed by his career in the SS. He was director of the Excavation Department of the »Ahnenerbe« (ancestral heritage) of the SS. After the German invasion of Poland he was briefly appointed Custodian of German Cultural Assets based in Posnan. In 1943, he joined the SS Head Office for Economic and Administrative Affairs and rose to the position of deputy to C Group (Construction) director, Dr. Hans Kammler, whose permanent representative in the Jäger- und Rüstungsstab task force he became. In this role, Schleif was responsible above all for moving key arms production facilities underground, where fighter planes and the »reprisal weapons« V1 and V2 were built – hence for the largely subterranean concentration and slave labour camps of the Sonderstab Kammler. His grand- son, the actor Matthias Neukirch, created a theatre production about Schleif in collaboration with stage director Julian Klein at the Deutsches Theater Berlin. This text is a result of the research undertaken for the production, and reports on selected stages in Schleif’s biography.
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  they didn't bring enough water (2019) author(s): William Smart, Lindsey french published in: Research Catalogue
  In early 2016, Lindsey french and Willy Smart gleaned water samples during a series of anomalous rainstorms in the Southern Californian desert. Later, these samples were ‘released’ publicly via personal humidifiers. Combining photographic documentation of humidity, the affected certainty of diagrams, and an associative written text that slips between theoretical and personal registers, the research exposition, “they didn’t bring enough water,” catalogs this process of reception and release. The project floats on our attempt to follow a logic of water in our research — from the start then there is no pretense toward rigid methodology. We collected samples erratically, in line as much with our moods as with the sites we’d marked out in advance of the trip as potential intrigues. In other words, the bonds we seek out here aren’t those of solidarity, but liquidarity. Water is not then the tested object of our actions, but rather an active agent in our research. Crucially, the release was staged publically: the humidifiers fogged up the windows, our breaths mixed. Release here is meant in the sense of a record release — of circulation — rather than in the sense of a caged animal set free. The materials collected in this research exposition include photographs of each water sample at the moment of its release, diagrams of forms taken by the released water vapor, and a written text. The text folds (but does not tie — liquidarity reigns here too) historic information on sample sites with personal associations and theoretical conversations initiated during the days of collection: during long drives, before sleep, and at the sites themselves. The text thus is loose — it slips between pronouns and landscapes and concepts — there’s not quite enough present perhaps for total coherence, like the sign we encountered at a trailhead at the beginning of the research trip — “THEY DIDN’T BRING ENOUGH WATER.” This apparent warning, with its seductive vagueness, would crystallize in the following days into an aphoristic methodology that is carried over into the presentation of materials here. What we didn’t bring perhaps we (perhaps you) will find here.
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• Concepts of Embodiment in Interdisciplinary Work Within a Musical Context (2019) author(s): Sarah Albu published in: KC Research Portal
  Integrated musical experiences have long existed, previous to and outside of the traditional concert music setting. Interdisciplinary approaches to performance creation are becoming more accepted and more common in academic music contexts. This research asks the question "How does the concept of embodiment serve the creation of interdisciplinary work within a musical context?", examined through the lens of definitions of embodiment, spinning, technology, community, and inter/multidisciplinary vs. intermediality and expanded through case studies of two of the author's recent performance works.
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Neil Mulholland
United Kingdom (residence)

Daniel Romero Nieto
Norway (residence), Mexico (citizenship)

Tone Åse
Norway (residence)

Mia Engberg
Sweden

Anna Kholina

pedi Matthies
Germany

Isobel Anderson
United Kingdom (residence)

Eamon O`Kane

STEFANO ZORZANELLO