Research Catalogue

Illustration as research from within the field is of relatively new practice. The illustrators discourse on representation (Yannicopoulou & Alaca, 2018 ), theory (Male, 2017), and critical writing on illustration practice was hardly found until The Journal of Illustration was first issued in 2014, followed by artistic research through illustration (Black, 2014; Rysjedal, 2019; Spicer, 2019). The History of Illustration was published recently (Doyle, Grove, & Sherman, 2018). The research topic developed as response to a rise in hate crime towards refugees and the targeting of European Jews in recent decade. A pilot project (This Is a Human Being 2016-2019) treated how narratives of the Holocaust may avoid contributing to overwriting of history or cultural appropriation. Asking how illustration in an expanded approach may communicate profound human issues typically considered unrepresentable, this new project hopes to explore representation and the narratives of “us” and “the others” in the contemporary world through illustration as starting-point for cross-disciplinary projects. The participants from different disciplines, will interact democratically on a common humanist themes in order to explore the transformative role of illustration in contemporary communication. Projects developed should afford contemplation of illustration as an enhanced, decelerated way of looking; and drawing as a process for understanding - a way of engaging in understanding the other, as much as expressing one’s own needs (McCartney, 2016). This AR project consists of three symposia and three work packages, and the artistic research unfolds in the symbiosis of these elements. The planned output is the investigation of illustration across media and materials.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

The Artistic Research Autumn Forum 2023 is hosted by the Norwegian Academy of Music, and organized by the Norwegian Artistic Research Programme. The forum takes place digitally and in Oslo, Norway.

Abstract The E(c)lect(r)ic Guitar in The Mechanical Forest is my investigation into how to expand my improvisational palette as an electric guitarist, by working with compositional techniques and concepts used in composed contemporary western art music. In my work, I have focused on incorporating movement, microtonality, as well as multimedia composition techniques and application of technology, both in the performance as well as in the creative process. A key focus of my artistic practice has been exploration of the transcorporeal nature of my relationship with the guitar. This has resulted in creative work which has grown from a deep focus on the materiality of the guitar and the visual, tactile (touch) and kinetic (movement) aspects of sound production. Research Questions 1 How can I use compositional techniques and concepts from contemporary composed western art music to expand my palette as an improvising guitarist? 2 How can I transfer musical techniques and concepts, which often are used in a strictly predetermined environment, to a musical situation where improvisation is an important element in the performance. 3 How can I reconfigure/extend the electric guitar, and how can the reconfigured/extended guitar reshape the way I create and perform music?

Vad vill man ens lära sig? Det här arbetet handlar om hur elever tillåtas undersöka sitt lärande i skolan. Hur man synliggör den kunskapen som elever har skaffat sig. Med ett processbaserat lärande, deleuziansk affektperspektiv och kunskapsteori ramas ett undersökande in där elevers vilja får styra och elever och lärare gemensamt lägger en grund för vilka kunskaper som ska belysas utan att lärarens förförståelse dikterar villkor. Genom ett undersökande i skolan tillsammans med nio gymnasieelever utvecklas också ett en egen fråga som rör vad ett forskande slutarbete kan vara, hur det kan gestaltas och läsas. – What do you even want to learn? This work is about how students are allowed to examine their learning in school. How to make the knowledge that students have acquired visible. With a process-based learning, Deleuzian affect perspective and epistemological theory, a framework is made for a research in which students' will is allowed to govern and where students and teacher can together lay a foundation for which knowledges can be understood without the teacher's pre-understanding dictating conditions. Through the research, which is made together with nine high school students, a separate question is also developed, asking what a final-project-research can be, how it can be written and read. –   Konstfack Institutionen för bild- och slöjdpedagogik Självständigt arbete i Bild 30 hp Ämneslärarprogrammet med inriktning mot arbete i gymnasieskolan (Bild - Media) VT22 Handledare: Miriam von Schantz & Miro Sazdic Examinator: Anette Göthlund

This project investigates how Transformative Reflections can be developed as a range of methods and processes and how it can be used to create music based on and inspired by paintings. The project has worked with developing a method for translating from painting to composition and improvisation, and making inspiration from another artistic domain tangible. It also seeks to get closer to the artistic material and inspiration that to me seems to lie before the art expresses itself as a work, with an idea of what could be called a pre-art. Methodologically the project explores through four different method categories and an artwork dialogue perspective, both how to get closer to the intrinsic material and values in the reflected work, and to how the extrinsic expressions might translate to meaningful artworks in another domain, in this case music. Furthermore, it investigates the potential of new artistic hybrid art experiences based on the findings and examines the processes and considerations of these. The artistic purpose is through transformative reflections of painting to new works in improvisational and compositional contemporary music (jazz), to create a multidimensional, multisensory art experience space, where the individual work can be experienced both independently and in close communication with a work from another artistic domain.