Research Catalogue

"Wat heeft mijn leven nog voor zin?" In dit onderzoek neem ik je mee in mijn zoektocht naar hoe theater als kunstvorm én leermiddel studenten kan helpen om deze ontmoetingen met moed en empathie aan te gaan. Ik heb verhalen verzameld. Van studenten die zoeken, patiënten die worstelen, en van professionals die laveren tussen nabijheid en afstand. Die verhalen heb ik verweven tot een theatervoorstelling. Een levend leerlandschap waar zorg en kunst elkaar raken.

This project is practice-based research that investigates a practice model for sympoietic musicking in the field of contemporary free improvisation and comprovisation. It is driven by my interest in socio-musical sound engagements, particularly the relational connections between humans and instruments (physical material objects and electroacoustics). I explore this relationality with sound-energy-movement continuums with tools based on embodied, and movement-based practices for listening, interpreting and responding.

A cross disciplinary artistic research project that departs from, and investigates several encounters and alignments between Contemporary Art and Archaeology. Its primary goal is to create a broad selection of autonomous and collaborative artistic, poetic and scientific expressions and responses to Prehistoric Art and its contemporary images. It will seek to stimulate a deeper understanding of contemporary and prehistoric artistic expression and the contemporary and prehistoric human condition. The participating artists and archaeologists will create autonomous projects, but also interact with each other in workshops, seminars and collaborative artistic projects. The secondary goal of Matter, Gesture and Soul is to establish an international cross disciplinary research network at the University of Bergen and strengthen the expertise in cross disciplinary artistic and scientific work with artistic research as the driving force. The project is financed by DIKU and UiB and supported by Global Challenges (UiB)

In this exposition, I discuss encounters of culture that occurred in art-based action research (ABAR) with Sámi reindeer herder families in the Finnish regions of Sápmi (the Sámi homeland). Five Sámi reindeer herder families joined an ABAR -project to enhance and stabilise the Sámi reindeer herders' position in the majority society. The research project relates to the Department of Art Education's development of art-based action research, the theory of community-based art education and the concept of 'new genre Arctic art' at the University of Lapland in Rovaniemi, Finland. It is a long-term research project that emphasises participatory and co-research methods. As a researcher, I am in an insider-outsider position, as I live in the same region and share my daily life with a reindeer herder. We started the action by exploring the daily life of the reindeer herders through the Photovoice method. We gathered their photographs in an exhibition called Boazoeallin, a Davvi Sámi (Northern Sámi) word for Reindeer Life. The exhibition inspired the families to continue their visually informative work, and we designed the photographs in a book, also called Boazoeallin. The art-based collaboration with reindeer herders and the Boazoeallin exhibition and book contribute to the 'new genre Arctic art' that embraces participatory contemporary art, emphasising crucial matters of the multicultural Arctic. The Sámi people's history and culture form a destined constitution and obligation for ethical research conducted in Sápmi. The reindeer herders are unfamiliar with contemporary art, which challenged and changed the art education activities. The exposition reflects the challenges for an ethical, participatory, and democratic research approach in ABAR. In the research action, I have sought to frame the terms for which community-based art education best can serve communities of Indigenous cultures, the multicultural northern community, the Arctic, and global interests.

The artistic research project "(un)Romantic / Improvising Interpretation" 2021-2024 was led by vocalist/composer Live Maria Roggen and pianist/composer Ingfrid Breie Nyhus at the Norwegian Academy of Music, funded by the Norwegian Artistic Research Programme. The explorations have concerned creative interpretation and aesthetical language, through improvising together as a duo: What can an interpretation be or become? Where does a story live? What is Romantic and what is unRomantic? Where does the ‘new’ begin and where does the ‘old’ go?

This research explores the intersection of art and technology through the innovative use of the oscilloscope in musical composition and performance. Originally a tool for scientific and industrial applications, the oscilloscope’s ability to transform electrical signals into dynamic visual patterns offers a unique opportunity for audio-visual expression. This study is motivated by a fascination with the device’s aesthetic and philosophical potential, as well as its capacity to bridge sound and image, creating a multisensory artistic experience. The central research questions guiding this investigation are: How can the oscilloscope be incorporated into compositional practice? Can it function as both a compositional tool and a live performance instrument? Is integration with acoustic instruments feasible, and how does it operate within an ensemble context? Through a combination of historical-theoretical research and practical experimentation, this study researches how the oscilloscope can indeed serve as a tool for composition, a performative instrument, and a collaborative element in mixed acoustic-electronic ensembles. The findings highlight the oscilloscope’s potential to redefine traditional musical practices, offering new dimensions of creativity and interaction, bringing unexplored possibilities along with strict limits and challenges. This research contributes to the growing field of multimedia art, providing insights for composers and performers interested in exploring the translation of sound to image, and technology.