Research Catalogue

This video essay explores the sacred landscapes of Delphi and Delos, studying their historical significance as a centres of female knowledge, through embodied, intuitive, and affective engagement. Thinking about Ada Lovelace’s notion of poetical science, the site visits seek to trace the contextual and geographical roots of this concept. The film approaches knowledge as a sensuous, relational and embodied process, one that resists dominant rationalist and technocentric paradigms. The voiceover, recorded in Greece, threads reflections from Hélène Cixous’s The Laugh of the Medusa (1976), Karen Barad’s Diffracting Diffraction (2014), and Sasha Biro’s The Oracle as Intermediary (2022) from Otherwise Than Binary, New Feminist Readings in Ancient Philosophy and Culture Decker, J.E., Layne, D.A. and Vilhauer, M. (2022). Through these situated readings, the film proposes curating research and thinking through place as not merely interpretive but performative: an intra-active practice between self, site, and matter. The work explores myth and reverie, positioning the body in context as instrument. It proposes an expanded curatorial methodology rooted in presence, sensual attention, and poetic science - where intuition is included, and the landscape is approached as co-creator.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children: how they love, amongst other. I wanted to emphasise that element, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp, but intimate twist, as commentary, in the British tradition of political satire, to the otherwise dark subject matter. Finally, this artistic style refers to the populist character of actors. The text is written like trip-hop songs: two of the pseudonyms I gave are the artistic names of musicians of colour from the British band "Massive Attack", formed in Bristol. I use heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition is underpinned by an underlying Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, as painting, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For Nikos ('Ramadan', 'Mr X'), Filip ('Philip'), and Brandon ('Magna') - August, September, and October 2024. For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego"), Julien ('Moussa') and 'Gaetan'- December 2024, January 2025, May and June 2025. Three men of colour and five white men. Who were also targeted, directly and indirectly. Who are not politicians, but are doing something political, so they must take care of what they do. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

Work-in-progress for the development of a sensorial piece, first explored during the workshop Augmented Attention Lab.

Media scores—expansion of musical notation that incorporate other modalities, particularly enabling interactive and generative elements—have reshaped the relationships between composer, score, and performer. This essay examines nine distinct attributes of the media score that differentiate it from traditional notation. Through historical and contemporary examples, the discussion highlights how these attributes manifest in various artistic practices. Additionally, the author's own compositions are cited, with particular focus on Mutability, a large-scale collaborative project that highlights many of the elements discussed in the paper.

A work that explores the possibilities of creating hybrid genres on the drum kit to achieve a personal artistic expression. From experimenting with different groove combinations and rhythmical structures to developing concrete practice methods for limb independence, Fred establishes a way to mix electronic and Brazilian rhythms on the drum set. As the work deepens, he continues to explore the hybrid expressions through improvisation, composing and ensemble playing. With the purpose of connecting the otherwise loose threads of a peculiar musical background, he seeks new ways to approach the drum kit to create a united sound that reflects his earlier musical journeys within the electronic and Brazilian traditions.


Denne nettsiden dokumenterer refleksjonsarbeid fra det kunstneriske utviklingsprosjektet Improvisasjon som møtepunkt i en intermedial kontekst (INTERIMP) – et samarbeidsprosjekt mellom Norges musikkhøgskole (NMH) og Balletthøgskolen ved Kunsthøgskolen i Oslo (KHiO), med ekstern finansiering fra det nasjonale Program for kunstnerisk utviklingsarbeid/Prosjektprogrammet (2012–2015). Prosjektdeltakere har vært musikerne Lisa Dillan, Sidsel Endresen (2012–2014) og Ivar Grydeland (alle NMH), og danserne Siri Jøntvedt, Cecilie Lindeman Steen og Ingunn Rimestad (alle KHiO). Formålet med prosjektet har vært å undersøke og øke bevisstheten rundt prosesser og problemstillinger som oppstår når improviserende dansere og musikere møtes på gulvet. Aktiviteten i prosjektet har bestått av arbeid på gulvet og arbeid på møterommet, og det har vært en gjensidig og kontinuerlig veksling mellom disse fasene. Utprøvinger og tester på gulvet har informert diskusjonene på møterommet, som igjen har generert nye utprøvinger og tester på gulvet.

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Dokumentasjonen av prosjektet ble opprinnelig gjort på en dedikert nettside. Den er nå flyttet til Research Catalogue for å bedre sikkerhet og distribusjon.