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.

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.