Research Catalogue

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

A visual, emotional & conceptual archive of performative installations that anticipated the LGP Method's integrative logic. This article presents a series of digital collages created through the daily reworking of personal archives—photos, performance records, and installations. These images are not final works but affective documents in motion. They explore the blurred boundaries between memory, artwork, and archive. This visual practice is part of the ongoing evolution of the LGP Method, showing how transformation and process are central to its structure. After the method's formalization, a new identity—New Art—emerged, emphasizing mobility, reinvention, and the spiritual-emotional dimension of creative work. This archive also acknowledges the valuable collaborations with artists, performers, and institutions who engaged with different stages of the process, activating the method from multiple perspectives.

ES / EN Este artículo presenta la dimensión de mentoría creativa del Método LGP, una forma transdisciplinaria de soporte para artistas y profesionales multidisciplinarios que buscan integrar deseo, obra y proyecto vital. Este artículo fue escrito por L.C. en el marco del proceso performativo del método LGP. Algunas imágenes, mapas e intuiciones emergen del acompañamiento realizado con F.F., artista visual con background en medicina, cuya colaboración discreta y sensible nutrió el tejido emocional y estratégico del texto. A través de un acompañamiento performativo-emocional, el método ofrece herramientas para sostener procesos, tomar decisiones, y atravesar una nueva identidad sintética. This article introduces the creative mentorship dimension of the LGP Method —a transdisciplinary form of support for artists and multidisciplinary professionals seeking to integrate desire, artwork, and life projects. This article was written by L.C. within the performative process of the LGP method. Some images, maps, and insights emerge from the accompaniment shared with F.F., a visual artist with a medical background, whose discreet and sensitive collaboration nourished both the emotional and strategic layers of the text. Through performative-emotional guidance, the method offers tools to sustain processes, make decisions, and move through a new synthetic identity.

Media scores—expansion of musical notation that incorporate other modalities, particularly enabling interactive and generative elements—have reshaped the relationships between composer, score, and performer. This essay examines nine distinct attributes of the media score that differentiate it from traditional notation. Through historical and contemporary examples, the discussion highlights how these attributes manifest in various artistic practices. Additionally, the author's own compositions are cited, with particular focus on Mutability, a large-scale collaborative project that highlights many of the elements discussed in the paper.

A work that explores the possibilities of creating hybrid genres on the drum kit to achieve a personal artistic expression. From experimenting with different groove combinations and rhythmical structures to developing concrete practice methods for limb independence, Fred establishes a way to mix electronic and Brazilian rhythms on the drum set. As the work deepens, he continues to explore the hybrid expressions through improvisation, composing and ensemble playing. With the purpose of connecting the otherwise loose threads of a peculiar musical background, he seeks new ways to approach the drum kit to create a united sound that reflects his earlier musical journeys within the electronic and Brazilian traditions.


Denne nettsiden dokumenterer refleksjonsarbeid fra det kunstneriske utviklingsprosjektet Improvisasjon som møtepunkt i en intermedial kontekst (INTERIMP) – et samarbeidsprosjekt mellom Norges musikkhøgskole (NMH) og Balletthøgskolen ved Kunsthøgskolen i Oslo (KHiO), med ekstern finansiering fra det nasjonale Program for kunstnerisk utviklingsarbeid/Prosjektprogrammet (2012–2015). Prosjektdeltakere har vært musikerne Lisa Dillan, Sidsel Endresen (2012–2014) og Ivar Grydeland (alle NMH), og danserne Siri Jøntvedt, Cecilie Lindeman Steen og Ingunn Rimestad (alle KHiO). Formålet med prosjektet har vært å undersøke og øke bevisstheten rundt prosesser og problemstillinger som oppstår når improviserende dansere og musikere møtes på gulvet. Aktiviteten i prosjektet har bestått av arbeid på gulvet og arbeid på møterommet, og det har vært en gjensidig og kontinuerlig veksling mellom disse fasene. Utprøvinger og tester på gulvet har informert diskusjonene på møterommet, som igjen har generert nye utprøvinger og tester på gulvet.

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Dokumentasjonen av prosjektet ble opprinnelig gjort på en dedikert nettside. Den er nå flyttet til Research Catalogue for å bedre sikkerhet og distribusjon.