Research Catalogue

Documentation of preliminary steps and collection of musical material and related reflections during the first Term of the Master's Program in Improvisation and World Music. December 2022

Silence surrounds us, silence around us – on creativity in communication, which interacts with and addresses the theoretical and practical exploring of the artistic research for Green x (2022 –). Simultaneously, it might be possible to create an artistic method of intervention artistically, which aims at the theoretical level evolutionally. Is language the tool? If it is yes, what kind of tool is the language? Through the language, what can we produce and provide? Thereby, I address the topic of creativity in communication in reading silently, speech, and listening. On creativity in communication is a play to draw models. Thereby the leitmotif is "reading". Critical seeing in a model on reading subjectivity and objectivity at the online artistic representational level, Question for on creativity The research objective(s) is a future idea for physical space and its mobility within virtual space (potentiality) for a new type of idea for notation between tradition and modernity. In this aspect, towards international communication gaps between tradition and modernity, DADA solved the issue of communication and explored a new way of communication, that was not a philosophical metaphor, but rather that consisted of semiotics and semantics in the context of design, was creative. – New visual and auditory codes. Thereby I deal with “Tractatus logico-philosophicus”, that is a logic of nonsense by Wittgenstein in the theme of space, body and time. "Silence surrounds us, silence around us" is an artistic research series, after "N.N-Zwischenliegend", I have been started to explore in 2020, after the corona-pandemic.

Hljómkassar is a project focused on developing and building innovative, directional acoustic speakers from Icelandic materials. Inorganic Resonators were nominated for Product of the year at the Icelandic Design Awards 2024.

Agnès Varda was more a photographer and invested in photographic storytelling in her fictions and non-fictions, such as the murals in Faces Places (Visages Villages, 2017). Experimental photographic narration and her artwork-like uses of the internet therefore is not a coincidence. In her internet accounts, she posed with her fans, while her Instagram account looks like an experimental work, an exhibition, open to the public and unfinished. In her first photograph, she is holding a necklace with a cat figure in her hand.

A person listening to Ludwig van Beethoven might think he is in a Jean-Luc Godard movie. An opponent of laws and canons. Beethoven sought to break the convention and laws of harmony. Johann Sebastian Bach, in contrast, never attempted to break the traditions.

The project began as a commitment to 30/30, an initiative offered by Artquest, where subscribing artists were required to upload a new artwork to a 30/30 dedicated platform on a daily basis though the month of February and into March, 2025. The response formatted as this exposition is variations of text, image, and video animation, archived as still-image iterations mostly sized at 21 x 29.5cm and hyperlinked videos of up to two-minutes’ running time. The works’ content wavers between anecdotal and academic/theoretical. (Artquest issued non-obligatory collective prompts at the start of each day, which is in this case sometimes either used.) Any texts from each iteration have been copied to a companion page and corrected, rephrased or explained. The iterations play with oscillation between text and image, where the look of text under these circumstances becomes more noticeable while retaining much of its readability. Theoretical reading during the project had been Isabelle Stengers's book on the philosopher A. N. Whitehead, which is variously referenced in the iterations. At the same time, the author’s recent interest in a question of adaptability of the psychoanalyst Jacques Lacan's Logical Square to the question of the artistic research process is referenced. Given that the theories of these two authors do not in any obvious sense relate, their conflation in a sense holds their function in the iterations open to question, analogous to how one reflects on interests in and through one's visual practice. While the 30/30 structure required daily decision-making and action, any one iteration tended to be of consequence to the next, which afforded continuity of duration to the project.