Research Catalogue

Case study of Drugo More in relation towards the practice of Fatos Ustek and Bek Berger

At this time of exception, in these extra-ordinary times there seems to be no limit to the limit: Once an extreme, excessive and acute experience, the limit has become an all-inclusive, continuous condition that coincides with a lack of language and other forms of expression and connection. Aiming to collaboratively inhabit and investigate this border experience, the objective of this project is to create contemporary vocabularies and related contextualizations of/for/at the limit. In order to do so, the project’s design for 36 months will develop 3 arts-based research programs exploring 3 select limit-experiences: The Unknown, The Beyond, The Abyss. Each of the interrelated programs includes a score of 5 formats: banquet, symposium, exhibition, podcast and performance collaborations with Saint Genet, Tianzhuo Chen and Marina Abramović.

Situated in the vast space between rigidly notated music and the realm of open improvisation, this research—embodied through a large ensemble for which I have written and conducted music—navigates the intersection of these two worlds in search of a sweet spot between fixed composition and creative spontaneity. Rather than treating the score as a static framework, the composition is approached as a living, evolving entity, where performers, conductor, and technology collaboratively shape the music in real-time. Throughout rehearsals and performances, musicians make interpretive choices, respond to cues from the conductor and their peers, and engage with interactive electronic elements, fostering an ongoing, dynamic dialogue. This process illuminates how variables such as individual interpretation, conductor influence, and rehearsal time can open new avenues for expression, allowing the written score to transcend its traditional boundaries. By embracing this fluidity and exchange, embodied through the term Comprovisation, the composition is continuously transformed, deepening the connection between musicians and the work, and unlocking new possibilities for artistic expression. Through some of my musical pieces as examples we will analyze how this experimental creative process was shaped.

This exposition investigates the potential of a/r/tography as a methodological framework within an artistic context characterized by improvisation in movement, dance, and theatre. Through a small-scale exploratory study, theory, practice, and reflection are integrated to examine how knowledge and understanding are generated within and through improvised artistic processes. The exposition includes documentation of practical components, reflective writings, and theoretical perspectives, and illustrates how a/r/tography can operate as a dynamic and responsive research methodology within the field of performative arts. This exposition is part of the peer-reviewed article: Østern, T. P., Reppen, C., O’Connell, S., & Daneberg, M. (2025). Choreographer/researcher/teacher - developing a/r/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2).

This visual essay explores images generated through AI-based expansion of a simple photographic composition. Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there. The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.

This thesis, The Alien Between Us, explores the intersection of touch, technology, and human connection through interactive installations designed to foster intimacy, empathy, and ethical engagement. Rooted in a technofeminist framework, the research examines how mediated interactions can challenge power dynamics, reimagine consent, and empower marginalised groups. Drawing on psychoanalysis, affect theory, and feminist philosophy, the work investigates the triadic model of the Imaginary, Symbolic, and Real, as proposed by Jacques Lacan, to analyse human-machine relations and embodied communication. The installation utilises haptic technologies to create symbolic connections between participants, obscuring identity and gender biases while emphasising bodily empathy and mutual care. Through wearable sculptures and mediated touch, participants engage in spontaneous, fluid interactions that reveal new possibilities for connection and self-awareness. The thesis also critically reflects on the ethical implications of technology, addressing its potential for empowerment as well as its dangers, such as reinforcing societal inequalities. By integrating personal experiences, artistic practice, and scientific research, the thesis proposes a model of interaction that equalises power dynamics, protects against abuse, and promotes responsibility. It envisions technology not as a tool for exploitation but as a medium for fostering meaningful, inclusive relationships between humans and non-human agents. Ultimately, The Alien Between Us seeks to heal our relationship with technology and the body, offering a vision of a more equitable and empathetic future.