Research Catalogue

an international database for artistic research

• 10. Projects KMD Research projects and artistic results
• 9. PHD 2025 KMD Artistic Research
• 8. PHD 2024 phd fellows
• 7. PhD 2023 PhD 2023
• 6. PhD - KMD 2022 PhD - KMD 2022
• 5. PhD - KMD 2021 Thesis under evaluation
• 4. Articles Various articles published in the KMD portal.
• 3. Crisis Collective - contributions to a lost conference Crisis Collective - contributions to a lost conference
• 2. PhD - KMD 2019 Finished thesis. 2019
• 1. Past projects - 2018 and prior Projects KMD

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  it will be fine (last edited: 2025) author(s): Johan Sandborg, Duncan Higgins connected to: Faculty of Fine Art, Music and Design, University of Bergen This exposition is in progress and its share status is: visible to all.
  It Will Be Fine, is engaging in the language of visual representation through the combined mediums of painting, photography and artificial intelligence (Ai) together with images held in the Special Collection picture archive in Bergen. To reflect on the ways in which meaning and memory is constructed and conveyed through visual forms and knowledge systems.
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  Outward Threads - Intuitive Computers / Rational Composers (last edited: 2025) author(s): Juan Sebastián Vassallo This exposition is in revision and its share status is: visible to all.
  The project ‘Outward Threads’ is an artistic investigation rooted in music composition, integrating computational frameworks from machine learning and artificial intelligence to create new music. It seeks to develop a fresh approach to established compositional methodologies within computer-assisted composition, as well as incorporating novel tools. Some of these contributions, including the development of creative software tools, are discussed. Theoretically, the project examines various forms of creative cognition and their manifestation in Western art contemporary music composition, drawing insights from cognitive sciences and AI. These discussions provide a framework for presenting each composition within the project and serve as starting points for exploring individual creative processes, methodologies, and techniques. The goal is to deepen the understanding of these cognitive processes and their interactions in the creative process, aiming to bridge the gap between purely neurocognitive approaches and practice-based research. In a broader context, the project examines ethical aspects of music and composition and the composer’s role in society. Finally, it considers the impact of new technologies -particularly generative AI- on creative processes and discusses influential practitioners and current trends in the field.
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• re- radio (last edited: 2025) author(s): Karen Werner This exposition is in review and its share status is: visible to all.
  re- radio is an artistic research PhD project about relationality in radio articulated through three durational artworks: SkottegatenFM (2021), a three-month mini-FM radio station based in my apartment and neighborhood; Radio Multe (2021-ongoing), an experimental city-wide AM, FM and online radio station with an accompanying shadow station and Seijo & her Soul (2024), a nine-evening performance installation in an art exhibition space. The project situates the artworks in the contexts of mini-FM and community radio practices, radio art, theories of relationality, relational aesthetics and dialogical aesthetics. I chart the move from broad questions, such as what is relationality? What is community? What is communication? to more specific realizations: that the radio station as an artistic form can foster an immersive, collective subjectivity that supports many forms of unlearning and learning with and that on-air conversation can be an artistic material. By shifting attention from senders and receivers to the spaces between them, on-air conversation as co-creation contributes to a relational ethics. re- radio also contributes to the field of artistic research regarding relational methodologies and the politics of knowledge.
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• My nature (last edited: 2024) author(s): Kate connected to: Faculty of Fine Art, Music and Design, University of Bergen This exposition is in progress and its share status is: visible to all.
  My nature Nature is my source of inspiration – like many artists before me. My working process could be like that of a scientific process, but as an examination through an artistic approach. I work with a kind of system that contain several single formats put together to form a larger drawing. The drawings contains a large number of copies of the same photograpic image which is interpreted through drawing. The modules are a photographic image taken from a tree – in one of the system – is the bark, in other it is the roots and the third thing is forms that grows out of the surface. The photograpic image is transfered via a risograph onto a surface that is suitable for drawing. The visual intrepretation happens in the organic structure, in the space between, in the rythms and in the lines. The drawing process is like drawing in pixels – while each module is a A3 format. Throughout the prosess the drawings are composisioned, arranged and rearranged, with the intention to form a new image still unknown and unseen - while some of the underlying and known image is still visible like fragments and fractals of the wholeness. In all the drawings is used soft pencils B – B9, all the works are from 2018. The size of 2 of the images are 164 x 236cm and 195 x 162cm. The third one has a looser composition where the empty space also play a role.
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  Illuminating the Non-Representable (last edited: 2024) author(s): Hilde Kramer connected to: Faculty of Fine Art, Music and Design, University of Bergen This exposition is in progress and its share status is: visible to all.
  Illustration as research from within the field is of relatively new practice. The illustrators discourse on representation (Yannicopoulou & Alaca 2018 ), theory (Doyle, Grove and Sherman 2018, Male 2019, Gannon and Fauchon 2021), and critical writing on illustration practice was hardly found before The Journal of Illustration was first issued in 2014, followed by artistic research through illustration (Black, 2014; Rysjedal, 2019; Spicer, 2019). This research project 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, have interacted democratically on common humanist themes to explore the transformative role of illustration in contemporary communication. our projects 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 consisted of three symposia and three work packages, and the artistic research unfolded in the symbiosis of these elements. Our investigation of illustration across media and materials continues as dissemination and exhibitions even after the conclusion of the work packages in 2024.
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  CCFT (last edited: 2024) author(s): Johan Sandborg, Duncan Higgins, Bente Irminger, Linda H. Lien, andy lock, Ana Souto Galvan, Susan Brind, Shauna McMullan, Yiorgos Hadjichristou, Jim Harold, DÁNIEL PÉTER BIRÓ connected to: Faculty of Fine Art, Music and Design, University of Bergen This exposition is in progress and its share status is: visible to all.
  As we move towards the first quarter of the third millennium, the impermanent and shifting influence of globalisation, economic division, migratory encounters, social media, historic narrative and tourism is having a major impact in our understanding of the making, belonging and occupying of place. It is widely documented that these conditions are contributing to a growing sense of displacement and alienation in what constitutes as place making, occupying, and belonging. CCFT is asking how interdisciplinary artistic research practices contribute and share new critical understandings to aid this evolving understanding of place making, belonging and occupying?
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