Research Catalogue

How can I, as a workshop facilitator, create inclusive, inviting and transformative spaces for sparking moments of joy around diversity? How does my training as an artist, researcher and teacher inform and enable my role as a workshop facilitator, such that I can support radical expressions of self-acceptance? What are the limitations to my role, and what possibilities may lie ahead through continued reflection and practice? I have worked through these questions by exploring the concept of vulnerability through a/r/tographic theories and practices, with the culmination of my research and reflections shared in this exposition. Though I have long hosted workshops in marginalised communities as a means for building resilience and kinship, only in the past year have I begun to analyse, from theoretical and methodological perspectives, how and why certain approaches work. Again and again, my reflective meanderings take me back to a single core concept, namely vulnerability. By being vulnerable, one becomes open and raw, which — in certain conditions — can lead to curiosity, risk-taking and remarkable creativity. With such an open and desiring mind, creative practices like crafting can evoke radical feelings of joy and appreciation around a topic that otherwise may tend to conjure conflicting or undesirable feelings. Vulnerability is particularly important in my work because the primary focus of my workshops has been bodily joy. Largely, I have hosted workshops wherein we have explored positive feelings of one’s gender diverse experiences, expressions or identity through paper crafting. Recently, I have also begun hosting crafting workshops, in which we forest bathe (friluftsliv) then craft on the joy one has felt in communion with nature. Crafting becomes an extension of the self, a temporary reincarnation of our own materiality in which we bring to life an alternative understanding of our own potential. In this exposition, I address the questions above by drawing on two example workshops, Crafting Gender Diverse Joy, and Crafting Joy in Nature -- hosted in April and May 2025, respectively. The organisation of this exposition is inspired by L. Balzi’s ice cracks metaphor (2023), Irwin's rhizomatic walking method (2013), and LeBlanc's The Wake (2019). The workshop process as a whole is a reverberation of impulses rippling outwards without end. I navigate these reverberations through a visual mapping of a rhizomatic system of roots sprawling from a tree in Bymarka. The roots are vast web of connections, largely hidden beneath the ground as points of potential. With our imaginations, we can appreciate the complexity of this web, just as we can trace the multiple invisible processes that lead us to our eventual a/r/tographic choices. I invite you to wander across these knots and walls, encountering the various descriptive concepts, or 'centres of vibration', to borrow from Deleuze and Guattari (1994; in Irwin & Springgay, 2008). The layout is roughly guided by the three stages of the workshop process (planning, workshop, aftercare), sprinkled with key concepts, theories, and practices. I also include documentation from the workshops, such as photos and crafts (with permission granted). Enjoy your own wandering. I look forward to hearing your thoughts.

Simple page for presentation on 13/12/2023

The article unfolds how the combination of qualitative research and immersive performance has given Inga Gerner Nielsen insight into her audience's aesthetic perception and imaginary realm in a performance installation. It sets out by stating that to ask an audience open questions about a performance only provides testimony of the after-rationalizations of their experience. The author introduces a phenomenological interview method, which draws on sense-memory techniques directing the interviewee to produce thick descriptions; actualizing the lived experience in the interview instead. In response to Norman K. Denzin's call for a performative dialogical social science, she argues why interview material should be conceptualized as performance and how working artistically with the interview setup can serve to highlight the inherent power dynamics. The article ends with examples showing how the interview was turned into a central immersive element of Inga Gerner Nielsen ́s artworks.

Just as variety and change are the core principles of nature itself, they seem to be essential for music, too. This research examines doubles in the repertoire for flute between 1700–1750 as a specific type of variation. Originating as a vocal tradition of embellishing the second verses of airs de cour, the tradition continued in instrumental music by creating doubles mostly for songs and dance forms, such as Menuet, Gavotte or Sarabande and remained popular until it gradually evolved into the variation form in the second half of the 18th century. The role of the flute in this repertoire is unique thanks to the vogue of the airs the cour among flautists and composers for flute. The presented exposition traces the development of doubles in the flute repertoire of the first half of the 18th century. Highlighting the variety of unique compositional styles, the research distinguishes between three typological categories of doubles: diminutive, ornamental, and those presented in sets of variations, typical of a Galant sonata. The examination and analysis of a representative number of doubles led me to extract elements and patterns, typical for each category, and, in turn, this thorough study of the doubles allowed me to play them with a better understanding. Finally, the synthesis of both the theoretical and empirical approaches provided enough information and inspiration to compose doubles for other musical pieces from the same period. These newly composed doubles are included in the collection titled L’Art de doubler, attached to the exposition.

This research explores the synergy between auditory and visual sensory impressions, investigating how music and visual arts can merge, interact, and resonate reciprocally to create a unique cross-modal performance. Central to this research is the collaboration with the visual artist Damiano Colombi. The focus is placed on two distinct types of interaction: large canvases enriching the visual space on stage, around which the musician moves, and digital projections created with TouchDesigner, a software that generates real-time visuals reacting to the music. These contrasting approaches shape an immersive experience, transforming sound into moving images and creating a dynamic interplay between structured visual elements and fluid digital projections. A central challenge of this research is to create a balanced interaction between the auditory and visual components, so that each artistic discipline complements and enhances the other, allowing a continuous dialogue between sound and image. Throughout the creative process, these ideas evolved organically, guided by continuous experimentation and reflection. By documenting the sensations, insights, and evolving artistic choices, this research not only explores the theoretical and technical intersections between music and visual arts but also highlights the deeply personal and intuitive nature of interdisciplinary collaboration. Ultimately, this research provides a framework for crafting audiovisual performances that foster a compelling and harmonious fusion of music and visual arts.

This research examines Giovanni Battista Bovicelli’s Regole, passaggi di musica (Venice, 1594), a Renaissance treatise on (vocal) ornamentation. By analyzing Bovicelli’s diminutions, this research aims to identify his characteristic stylistic elements as a composer and singer. Beyond defining these elements, the findings provide a solid foundation for comparing his style with that of Giovanni Bassano, previously studied, and for applying Bovicelli’s techniques in newly written diminutions. More broadly, this study contributes to a deeper understanding of late 16th-century Italian diminution practice. Bovicelli’s treatise offers information for singers about text placement, presents examples of diminutions for various intervals, cadences, and melodic contexts, and includes his own diminuted lines of well-known pieces of the time. This research focuses specifically on the examples of diminutions, analyzing them according to seven musical criteria: note values, range, intervals, melodic sequences, rhythmic patterns and/or sequences, standard figures such as trills and turns, and ficta application. Additionally, in cadences and melodic contexts, the extent to which the original melody is preserved is assessed. The results of this analysis are presented in tables and graphs for a clear overview. Additionally, the research includes a comparative analysis of Bovicelli’s and Bassano’s diminution styles, clarifying both their individual characteristics and, very carefully, broader trends in 16th-century Italian diminution practice. Furthermore, newly composed diminutions in Bovicelli’s style demonstrate the practical application of the findings. These diminutions are written on the well-known Anchor che col partire by Cipriano de Rore (1516-1565).