Research Catalogue

Exposition for the workshop-in-exposition taking place in Bergen, Norway, June 2018. This event is a collaboration between Almat and BEK Bergen for Electronic Art, and part of BEK and Notam’s ongoing series of workshops for advanced users. It is a hybrid format that places the workshop inside an exhibition context, where the exposed works and artefacts form the basis of the workshop’s activity. Instead of “closed works”, what is exposed to the general public are objects, sounds or installations that are open to engagement and reconfiguration during the workshop. Theme: Thresholds are locations of transitions, points where one modality becomes another, where a qualitative change occurs. In physics the point where an aggregate state changes—the phase transition—is a distinguished transitional location where the properties of the adjacent states become evident. Similarly, in this workshop-in-exposition we want to study the properties of the algorithmic by putting ourselves in threshold positions and actively shape them. More than merely separating two sides, one can spend time on a threshold, move along a ridge, performing a tightrope walk while trying not to fall to either side.

The start point of this artistic research is an artwork Corona-STEMS-GALAXYOMEGA (May 2020) by Lukas Huisman who a pianist and PhD in performing arts/piano in classic-modern music, he started to embodiment "Corona" (1962) by Takemitsu together with a composer and sound artist Patrick Housen newly. Huisman and Housen call Graphology duo. (Graphology duo is a musical performative duo formed by Patrick Housen with (live) electronics and Lukas Huisman with piano. I collaborate(d) with Housen as a visual artist for a sound installation in this artistic project. Thereby the artistic research "variation I" which relates to this artistic research on Klänge - Space, Time and Body, I as a visual artist, have been exploring the subject of time and space in "Corona" (1962) for pianist(s) by Toru Takemitsu for the exploration of new interpretations (variations). My practical contribution is a performance in the site-specific installation for the variation I ( "Corona" without Pianist for 4-ch discrete sound installation - an invisible sense "who is left to drift in the loneliness of the remaining scent." in 2020. Thus theoretical exploration is in terms of ongoing artistic research in the philosophy of sound. The aim of this artistic research On Klänge - Space, Time and Body is a new multi-layered open score "Variation I, II and III".

The Role of Sound as a Component of Urban Experience is an audio-video essay using urban sound and image for an experiential experiment. Research focuses on the cinematic/cinematographic experience of an urban dweller when retransforming/playing with sensational components on the screen and that way revealing the influence.

This exposition posits art as a form of contagious divination, a glimpse into the multiplicity of possible futures, and an examination of artists' ability to detect momentum towards unavoidable outcomes. In 2014, I was selected by curator Heather Pesanti to participate in the City of Toronto’s annual Nuit Blanche festival, an overnight public art event spanning twelve hours in multiple neighborhoods that draws over a million people from the surrounding regions. Spurred by my concerns about the inescapable gravity of mobile electronic media and "viral culture," my work was to be a performance premised on contagion, pointing to the monumental role that electronic media had assumed in mediating our direct experience, and the civic and societal fallout I believed would ensue. Little did I suspect how bizarrely prescient the work would turn out to be. On October 6th, 2014, one hundred glowing “carriers,” dressed in fluorescent hazmat suits, wearing fluorescent LED-wired helmets in the dodecahedral geometric shape of an adenovirus, dispersed throughout the City of Toronto, each "testing" and “infecting” at least one hundred festivalgoers by marking their faces and hands with “spots” “lesions” and “rashes” using surgical swabs dipped into a beaker of invisible UV-reactive ink. Each "test subject" was then gifted a small UV pen lamp with built-in reactive ink marker and instructed to "infect" and "test" ten others. It is estimated that HALFLIFE attained an "R-naught" value of ten, and through this performance, affected approximately one hundred thousand people. Images of the performance went viral on Instagram for seventy-two hours, during which Toronto General Hospital admitted their first and only suspected Ebola case.

Starting from my personal teaching experience, I have been studying the effect of visual instructions on my violin pupils. With a detailed analysis of the interactions between students and teacher and the help of 36 observation sheets, I could finally see the effects of enhancing visuals on student’s musical learning. All conclusions were drawn after taking into account specific studies mentioned in the theoretical framework and with respect to the observations made by three external experts. This research found further evidence of the link between visualization and critical thinking as well.

There are different ways to create a screenplay – freewriting from a spontaneous idea, or more planned with a determined end. I and three other screenwriters write two short screenplays each. I document the process and compare the screenplays. Based on a critical analysis of some classical dramaturgy handbooks I explore prospective versus retrospective writing practices, focusing on processes as well as results. The results will be of value for both the practice and teching of screenwriting.