Research Catalogue

LGP Performative Method Embodying Creative Transitions Through Project-Based Immersion The LGP Performative Method is a transdisciplinary support system designed for artists, entrepreneurs, and hybrid professionals navigating complex creative transitions. Rooted in performance, psychoanalytic insight, and ritualized thinking, the method invites participants to engage deeply with their emotional landscape and personal image as they develop projects that are both intimate and public. This article presents the conceptual pillars and the evolution of the method through performative installations, site-specific experiments, and testimonial archives. Unlike coaching or therapy, LGP works by immersive presence and symbolic acts that reorient the practitioner in relation to their project, their desire, and their audience. With a focus on Erotic Leadership, Liminal Psychoanalytic Fashion, and Project Reconfiguration, the method offers a dynamic toolkit to support non-linear processes and facilitate creative emergence. The piece includes visual documents, field notes, and reflections on what it means to be a body-in-process building something real.

Performative Paradigm for Businesses Reconfiguring Strategy, Presence and Creative Leadership This article introduces the Performative Paradigm as an innovative framework for business development, leadership and strategic positioning. Moving beyond traditional rational models, the performative approach integrates embodiment, narrative, and emotional architecture into the very core of professional structures. Rather than separating personal presence from strategic decision-making, this paradigm understands the body, desire, and symbolic expression as essential tools for navigating uncertainty and generating sustainable innovation. Drawing from performance studies, psychoanalytic thinking, and affect theory, the article explores how performative logic can be applied to projects, teams, and leadership styles—especially within multidisciplinary or creative industries. Far from being abstract, the paradigm proposes concrete methodologies and real cases where performative alignment has shifted business dynamics: from burnout to embodied clarity, from fragmentation to integrated vision. Aimed at entrepreneurs, consultants, and visionary leaders, this article opens a liminal path where doing and being converge.

How can dance and music, an art rich of history and a recent practice, the living body and digital immateriality communicate with each other? This project explores these questions through a live electronics performance in interaction with Odissi dance, one of the eight classical Indian dance forms. The performance combines fixed and improvised elements, fostering a dynamic interplay where music sometimes leads the dance and at other times responds to it. The work mirrors the traditional Odissi performance arc while reinterpreting it through a contemporary Western compositional lens. The sound material is created using SuperCollider, a code-based music synthesis platform. Algorithmic processes govern parameters such as duration, pitch, and amplitude, while real-time interventions are performed via a MIDI controller, enabling a fluid and reactive sonic environment. Several collaborative experiments inform the project’s development. Conducted both remotely and in-person, they involved exchanging musical sketches and choreographic responses, fostering a conceptual understanding of each other's creative processes, and enabled immediate feedback and improvisatory interaction, revealing how abstract sound gestures are interpreted by the dancer as vivid metaphors of natural phenomena through the expressive language of mudra. This project embraces the idea that meaning in performance does not pre-exist but rather emerges through the interweaving of gesture, sound, attention, and relational space. Rather than seeking fixed correspondences between music and dance, the collaboration foregrounds the instability and fluidity of sense-making as a shared experiential process. Movement and sound co-construct each other in the moment, guided by intuition, somatic listening, and a continuous negotiation of presence. In this light, the work becomes less about illustrating pre-defined narratives and more about cultivating a living texture of interaction—an evolving field where different temporalities, traditions, and sensitivities resonate and transform one another. Informed by Andrée Grau’s insights in Intercultural Research in the Performing Arts (1992), this project also approaches collaboration not as a neutral meeting ground but as a space charged with cultural histories and asymmetries of knowledge. Grau urges us to move beyond celebratory notions of “fusion” and to critically examine how traditions are represented, adapted, and negotiated in performance. In this light, the work does not seek to erase difference but to hold it in tension, encouraging a space where both artists remain grounded in their respective practices while allowing mutual transformation to occur. Rather than simplifying or assimilating Odissi into a Western framework, the collaboration is framed as an encounter—sometimes smooth, sometimes resistant—that reflects the complex, evolving nature of intercultural exchange. Here, meaning is not given but co-constructed through attention, respect, and a willingness to remain in the discomfort of not fully understanding. Bibliography Grau, A. (1992). Intercultural research in the performing arts: A critical review. Edinburgh University Press. Jayadeva. Gītagovinda. Tr. Giuliano Boccali (1982). Adelphi. Cassio, F. (2000). Percorsi della voce. Storia e tecniche esecutive del canto dhrupad nella musica classica dell'India del nord. Ut Orpheus Edizioni. Frödin, K. Unander-Scharin, Å. (2024). FRAGMENTE2. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=2045845 Frisk, H. (2025). Sound intuition. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=3025541 Giordano, S. The emerging sense. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=1220694

This essay examines drawing as a consciously guided practice for fostering creative problem‐solving and idea generation. At its center lies the Sketch&Draw method, with its core principle of the “fluttering line.” Drawing on Stephen R. Covey’s (1989) concept of the space between stimulus and response, Mihály Csikszentmihályi’s (1990) flow theory, and Maurice Merleau‐Ponty’s (1945) notion of embodiment, it develops—via the Sketch&Draw method—the central principle of the “fluttering line.” Through workshop analyses and practice sketches from sketchanddraw.com, it is evident how the visual noise of the fluttering line opens a mental space in which spontaneous impulses and effortless presence both set the creative process in motion and give it structure. Participant reports illustrate how these uncontrolled networks of strokes are later experienced as “whispered impulses” that support the flow state. Finally, the essay discusses potentials, fields of application, and methodological limits in artistic, technical, and academic contexts, and outlines proposals for further empirical and interdisciplinary research.

This research explores the influence of bel canto, a distinguished Italian vocal style, on 19th-century guitar compositions, with a particular focus on the works of Luigi Legnani. Through detailed analysis, the study identifies key bel canto characteristics, such as expressive phrasing, melodic ornamentation, and dynamic contrasts, as integral elements in Legnani's guitar music. These findings highlight Legnani's skill in adapting the vocal nuances of bel canto to instrumental performance, creating a bridge between vocal and instrumental traditions. The research enhances the understanding of cross-genre influences in 19th-century music and showcases the artistic versatility of composers like Legnani. To present these findings, the format will include recorded video demonstrations, where specific characteristics of bel canto will be illustrated through selected musical excerpts. These videos will provide a visual and auditory exploration of Legnani’s compositions, allowing audiences to observe the practical application of the research insights. The combination of spoken analysis and video demonstrations offers an engaging and comprehensive understanding of the influence of bel canto on Legnani's works, enriching the overall appreciation of this unique musical intersection.

(English below) Eiras kiosk er ein serie med mindre konsertar, lydinstallasjonar og hendingar som blir annonsert kort tid i forvegen og dukkar opp på stadig ulike stader. Kioskserien er utvikla av Eira Bjørnstad Foss og utgjør ein viktig del av det pågåande kunstnarlege forskingsprosjektet "Performer-Curator" ved NTNU, Institutt for musikk. Eiras kiosk: Skattejakt-edition blei spesiallaga til NTNU Artistic Research Week 2024. Saman med publikum utforska kiosken ulike krinkelkrokar i kulturhuset Olavshallen. Skattejakta tok utgangspunkt i, og er nesten ei realisering av, verket "Ear Piece" av den amerikanske komponisten og utøvaren Pauline Oliveros. Eira’s Kiosk is a series of small concerts, sound installations, and events that are announced shortly before they happen, and pop up in various locations. The kiosk series is developed by Eira Bjørnstad Foss, and forms an important part of the ongoing artistic research project, "Performer-Curator," at NTNU, Department of Music. Eira’s Kiosk: Treasure Hunt Edition was specially created for NTNU Artistic Research Week 2024. Together with the audience, the kiosk explored possibilities for experiences in various nooks and crannies of the cultural venue Olavshallen. The Treasure Hunt was based on, and is almost a realization of, the piece "Ear Piece" by the American composer and performer Pauline Oliveros.