Research Catalogue

This thesis explores the layered and often ambiguous relationship between place, memory, and history in the southwest region of Poland, with particular attention to the city of Wrocław. Combining site-specific observation with theoretical reflection, it examines how everyday encounters with neglected, transitional, or repurposed spaces contribute to a sense of familiarity and belonging in a region shaped by post-war displacement, political upheaval, and economic transformation. Through examples such as a stadium which kept on changing its role, remnants of wartime infrastructure, and viral online videos captured in forgotten environments, the research investigates how traces of the past persist outside institutional archives and dominant historical narratives. Drawing on thinkers including Yi-Fu Tuan, Paul Connerton, and Henri Lefebvre, the thesis emphasizes the importance of lived experience, spatial practice, and the subtle cues embedded in the landscape. Rather than presenting a fixed interpretation of history, the work advocates for a more nuanced, open-ended approach—one that recognizes the complexity of the past as it is revealed through the overlooked, the accidental, and the intimately familiar.

neither fish nor fowl is an act of refusal, witnessing the growth of a NO toward Western industrial design from the point of view of a graduating student. By claiming, “I don’t want to design and produce anymore”, the discipline - known for being a problem-solving and sense-making practice - is called into question. This decision stems from the urgency to pause the relentless capitalist cycle of production and consumption of which design is a part. Consequently, a paradox arises to provoke thought: can we stand still in the midst of constant hyperactivity? The research highlights the process of this growth as the main focus of the project - the negative space normally overlooked in favor of an alluring outcome. It branches out through theoretical studies and an exercise-based practice of unlearning. Concepts such as nothingness, stillness, unproductiveness, un-functionality and no-senseness are explored in a space of co-creation and ongoingness.

'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability. The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores that guide our simultaneous actions while walking on the street –interacting with public spaces and their characteristics– or while lying asleep –in the most private of spheres. On the one hand, in a practice we call ‘non-local walking’, scores conduct our collective experiencing of our cities, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. On the other hand, the ‘entangling dream practice’ experiment is an attempt without aiming at success of meeting each other in our dreams. Both investigations are conceived as boundary-crossing transdisciplinary methodologies through which we create a relational, critical consciousness and sensing that stimulates unexpected outcomes, embracing failure. These scored performances have resulted in cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations, unexpected connections, constellations, and coincidences e/merge, unveiling yet unheard polyphonies that give resonance to the urban and mental spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.

NORSK: I dette kunstneriske utviklingsarbeidet undersøker jeg hvordan norsk folkemusikk kan integreres i mitt etablerte musikalske sound. Gjennom lytting, refleksjon og skapende praksis har jeg latt tradisjonsmusikkens estetikk og uttrykk påvirke mitt eget formspråk. Arbeidet har resultert i albumet "Relasjonsorkester", der jeg utforsker møtepunktene mellom tradisjon og samtid i tre utvalgte låter: "Hei, hallo", "Tankerom" og "Langsiktig sparing". Prosessen har vist at respektfull lytting, tilegning av teoretisk kunnskap og bevisste kunstneriske valg er avgjørende for å forankre nye uttrykk i en levende tradisjon. Oppgaven reflekterer over hvordan tradisjonen kan bli en del av egen kunstnerisk identitet, uten å måtte bli en tradisjonsbærer i klassisk forstand. ENGLISH: This artistic research project explores how Norwegian folk music can be integrated into my established musical sound. Through listening, reflection, and creative practice, I have allowed the aesthetics and expression of folk tradition to influence my own musical language. The project resulted in the album "Relasjonsorkester", where I explore the intersections between tradition and contemporary music through three selected songs: “Hei, hallo”, “Tankerom”, and “Langsiktig sparing”. The process demonstrates that respectful listening, acquisition of theoretical knowledge, and conscious artistic choices are essential for grounding new expressions within a living tradition. The thesis reflects on how tradition can become a part of one’s artistic identity without necessarily becoming a traditional bearer in the conventional sense.

Gjennom denne masteroppgaven utforsker jeg muligheter for å skape en tonalitetsfølelse innenfor dissonante rammer. Prosjektet er et kunstnerisk utviklingsarbeid der jeg utforsker temaet gjennom komposisjon innenfor rammene av Olivier Messiaens Modes of limited transposition. Samtidig vil jeg forsøke å definere tonale sentre innenfor disse for å skape et tonalt uttrykk. Arbeidet skal resultere i et album og refleksjoner tilknyttet komposisjonsprosessen.

Through a series of photographic assemblages that focus on texture, depth, and atmosphere, “The Oracle of Delphi” documents interactions between these assemblages and AI language models. The work demonstrates specific ways that current AI systems struggle to comprehend material qualities and contextual relationships in personal narratives, particularly when dealing with dimensionality, surface qualities, and emotional resonance. By analyzing these limitations, the work reveals the gap between human and machine perception of materiality and affect, while suggesting potential approaches for developing more nuanced human-machine encounters. Through these material encounters and a deliberate “kinking” of established patterns, the work demonstrates how algorithmic systems might be recrafted from processes of reduction into expansive sites of co-creation and possibility.