Research Catalogue

Exploring methods of connecting thinking to space and embodiment in a research that looks at the connection between mental images, language and the body through felt experience.

Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

The Art of Preluding was once common practice but more or less disappeared during the last century. In recent years, there has been renewed interest in reviving this artform. The content found on the website is the result of years of research in the artistic and pedagogical field, and an academic research project at the Royal Conservatoire Antwerp in Belgium. It relies on historical didactic instructions to make preluding at the piano accessible and up-to-date again, and promotes the development of a contemporary approach.

Home page of the Journal of Sonic Studies

White to Earth, 2020

All Tomorrow´s Parties: post pandemic dancing is an artistic research that undertakes the task of discovering how hiv and aids has affected the Norwegian dance scene in the 1980´s and 1990´s and all the way up until today. Many dancers got infected by the virus, lived with hiv, and died of aids. Who were they? What were they dancing? And what kind of dances would they have danced had they not died too early? By interviewing the survivors, this project aims to map out how the Norwegian dance scene was affected by this pandemic, outline the hole left behind by this generation that disappeared, and try to fill it by creating dances that they could have danced.