Research Catalogue

It is a foundational human trait to long for miracles. We yearn for the unexpected, something new to transcend our everyday life. As anyone who has planted a seed might know, the world is already brimming with wonders. Why, then, is this not enough? Why does it sometimes feel like we have lost the connection to something larger than ourselves, something supernatural or more-than-human? In this text I am exploring the human need for miracles through a queer lens. Through my live performance “The Weeping Madonna” (2025) I am investigating alchemy as a method to acquire knowledge about the world, and whether it is possible to use our imagination as a starting point for collective rituals in order to call forth a new reality; a futurity.

Initiated in 2020, Dorsal Practices is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orient to self, others, world. How does the cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? A dorsal orientation foregrounds an active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a back-leaning orientation support a more open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?

This exposition emerged from my participation in the second interval of the Simultaneous Arrivals (Simularr) Artistic Research Project—a research project inviting international artist-researchers to explore relational, situated, and process-based inquiries in dialogue with core researchers. Core researchers: Nayari Castillo, Hanns Holger Rutz, Franziska Hederer, and Daniele Pozzi. For the second interval, the visual artist and researcher Elena Radaelli and I were invited as visiting artist-researchers. (More information on Simultaneous Arrivals: https://simularr.net/about/) The exposition presents my process during the residency, i.e. my Traces and Paths Towards a Singularly-Plural Companionships. The eight-week residency (3 March-30 April 2024) took place across three sites: Graz (Austria); Lecce, San Cesario (Italy); and Klagenfurt (Austria). The exposition traces this journey through various mediums, including texts, graphics, video and audio material experiments, field encounters, and theoretical companions. My processes, are informed and shaped by my companion collaborators—human (research-creation companions), more-than-human, textual, and material—who co-inform and co-create the unfolding of the research.

"Expanding horizons" is an Artistic research project carried out between 2021 (August) and 2024 (November) at NTNU, Trondheim. The objectives were to contribute to knowledge on how different kinds of departure points can be useful for musicians when approaching 20th-century Western classical music through improvisation, an understanding of how one can navigate and negotiate the musical language of this repertoire, and insights into how the tension between different performance values can be navigated in this process. The research questions were: When applying improvisation to works of 20th-century classical music, 1. What role does the choice and preparation of musical representations play? 2. How can we navigate and negotiate musical structures such as melody, harmony and form? 3. How can we navigate the tension between fidelity to the work and creative expression? Based on selected pieces from this repertoire and practical explorations together with participating musicians, various approaches to creating improvisational frameworks were then explored. These included a wide range of scores, including lead sheets and indeterminate notation, as well as ear-based methods. From the perspective of integrating improvisation into the performances, approaches such as repeating elements, working with layers, creating transitions, and introducing open sections were examined. A key point was to use melodic material as a way of building strong connections with the source material, rather than relying on harmonic representations of the music. In terms of balancing respect for the original work with creative freedom, a “healthy dose of disrespect” pervaded much of the explorations, allowing deviations from the originals when they were musically justified. Throughout the work processes, an idea of focal points emerged, as aspects to focus on when reworking a classical work into an improvisational version. These focal points included the score, historical and performative contexts, expressive qualities, and the improviser’s personal voice.

By experimenting with the use of artificial intelligence and collaborative storytelling in public engagement with sustainability challenges, the Futuring Together group, through an interactive installation "Playing Future Narratives" at Artistic Research Week 2024 (22nd - 27th October 2024) at the Norwegian University of Science and Technology, explored how AI-enhanced collaborative narrative creation augmented with a visual essay could facilitate understanding of energy transition futures in Trondheim, Norway. The installation utilized ScenSyn, a multiplayer interactive storytelling system combining AI-assisted narrative generation with human creativity, together with a visual essay highlighting the complexities and contradictions inherent in the energy transition. The project provided an opportunity to test how AI-enhanced collaborative storytelling might offer unique opportunities for exploring complex societal transitions and raised important questions about the role of artificial intelligence in creative processes and public discourse.

Name: Francesca Campo Main Subject: Master Classic Harp Name of Research Supervisor: Andrew Wright Title of Research: L'eco dal popolo: Exploring 19th-Century Southern Italian Musical Tradition Research Question: How can music and musical tradition in Sicily be used nowadays to present the identity of the Sicilian people through a harp concert? Summary of the Results of the Research: Sicily, a land shaped by diverse influences due to its geographical position, has a rich but often overlooked musical tradition. This research explores the role of the harp in narrating the cultural and musical identity of Southern Italy in the 19th century. Through historical analysis and experimental methods, I have revived forgotten harp works and transcribed compositions originally written for other instruments or orchestras, giving a voice to composers who expressed the emotions and struggles of their time. Structured as a journey with defined stages, the research begins with an exploration of the historical context and the "Hymn of Sicily," which lays the foundation for understanding the island's musical heritage. The route then leads to the evocative "Sicilian Vespers," highlighting the region’s strong sense of identity. The journey continues in Naples, the historical capital, where urban musical dynamics come to the forefront. In Palermo, the intricate interplay between the musical traditions of Naples and Sicily is explored, revealing the cross-cultural influences that shaped the region. Finally, Sikelia concludes the journey by showing how something new can be created from past inspirations, demonstrating how music helps express the cultural richness of this land. The results highlight how music—particularly through the harp—serves as a powerful means of preserving heritage and defining cultural identity. The research not only revives the voices of the past but also demonstrates the ongoing relevance of tradition in contemporary music, culminating in a unique composition born from the research's development and collaboration with the Composition Department of Palermo. Biography: Francesca Campo is a harpist and music researcher who blends tradition and innovation, exploring the musical roots of Sicily, her homeland. Born to Castelvetranese parents and raised in Verona, she has always navigated between Northern and Southern identities, developing a deep connection with Sicilian culture. After earning her Bachelor's degree in Harp in Italy, she continued her studies at the Royal Conservatory of The Hague. She is a harpist who blends tradition and innovation, exploring the musical roots of Sicily, her homeland. Her research focuses on 19th-century Southern Italian folk music, rediscovering forgotten composers and highlighting music as a powerful expression of identity and culture.