Norwegian Artistic Research Programme
About this portal
The portal of the Norwegian Artistic Research Programme is used to disseminate research which is done directly affiliated with the research fellowship programme or the project programme. Although there is no other reviewing connected to the publishing, the aim is to give access to research done in or connected to Norwegian artistic research environments.
contact person(s): Ingrid Milde
, Geir Strøm , Linda H. Lien , Jonas Howden Sjøvaag url: http://diku.no
Recent Issues
- 2019. 2019 Expositions 2019
Recent Activities
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The Search for Resonance
(2022)
author(s): Per Martinsen
connected to: Norwegian Artistic Research Programme
published in: Research Catalogue
ABSTRACT V.1 - "THE SEARCH FOR RESONANCE" - OCTOBER 2018 «The Search for Resonance» by Per Martinsen, Research Fellow, UiT The Arctic University of Norway, Faculty of Fine Arts In my project I want to investigate correspondences between frequency and geometry in order to build an “alphabet” that can be used as a platform for creating new musical and audiovisual works. I will use cymatic visualization techniques to look for patterns that stand out in their clarity and geometrical symmetry, and use the frequency data that cause these visual occurrences to create a musical scale that corresponds to these geometrical attributes. I will also map out the geometrical data to build a corresponding library, so that I can experiment with using these data to compose works from a visual viewpoint, and I also want to experiment with live sound in spaces that correspond with the geometrical data from the cymatic works to see how this can be used in a creative context. Having a background in an artistic practice that has focused mainly on very “physical” use of sound, i.e. rhythmic music usually played at loud amplitudes and with a strong focus on low frequencies, I want to explore how sound interacts with matter in a more profound way, in order to understand my medium better. My aim is to see if I can develop new tools for manipulating matter through the use of sound both in my own artistic practice, but also for my peers within the field and others interested in the subject. BACKGROUND The first known significant body of work on cymatic visualization of sound was developed through experiments carried out by Ernst Chladni (1756-1827). The term cymatics was later coined by Hans Jenny (1904-1972), and later György Kepes of Center for Advanced Visual Studies at MiT carried out some further research into the field, resulting in the development of a new thermodynamic technique using burning gas inside metal tubes as a new form of visualization of sound. Later developments in the field have been conducted by German photographer and researcher Alexander Lauterwasser, who studied the effects of sound on water, and by Ron Rocco, who used sound to manipulate pattern shifts in mercury via the use of lasers. Artists currently working in this field include, New Zealand- born musician Nigel Stanford, who extensively uses visual manifestation of sound in his music and video work ABSTRACT REV. II - “THE SEARCH FOR RESONANCE” - AUGUST 2019 A recurring dream: I find myself inside a concert venue. Sometimes this is an actual venue that I have visited, or played at, sometimes not. To the right side of the stage, there is a backdoor. I enter, and find myself in a corridor leading to an empty room. The room is heated, has no windows, and feels claustrophobic. There is a small, open door in the wall on the left side of the room. Leaning through the door, I see a ladder leading further downwards, to another room underground. I climb down the ladder, and find myself in an even smaller, warmer, and more claustrophobic space. There is a small table and two chairs in the middle of this room, and I can sense that someone have just been sitting in one of the chairs. I somehow just sense this, and sometimes there are traces like a recently smoked cigarette lying in an ashtray sat on the table, or crumbs left on the table by someone who just ate their lunch there. At the end of this room, a sound studio is rigged up against the wall. A mixing desk, with a speaker on each side. I walk over to the speakers, and look behind them, as if to find another layer, but find that there is nothing there. As I set out last year with my project «The Search for Resonance», I stated that I wanted to «investigate correspondences between frequency and geometry in order to build an audiovisual “alphabet” that could be used as a platform for creating new musical and audiovisual works» - a very concrete task of creating a tool for myself and others, based on rather pre-conceived conclusions of what I am about to find. Now, after one year of delving into the material, I have realised that what I actually have set out to look for rather could be rephrased «The essence of Sound?», or «How (and why) does sound manifest in the physical universe?», or even «What am I doing here?» This realisation has moved my focus from investigating the laws of physics governing the behaviour of soundwaves into far more fundamental existential questions of philosophy and purely metaphysical territories. It has also moved my perspective away from that of an non-academic self-taught artist glancing into the workings of current day scientific paradigms of “hard science”, back to far more personal and highly subjective experience-based areas of investigation, areas that I, like any sentient being who have ever questioned their conscious existence in this world, am as much an expert (or a fool) as anyone else. This return to the world of pure artistic subjectivity I find both liberating and challenging, as the confusing (and somehow unclear) concept of artistic research being both academic and non-academic in its approach made me feel unable to move forward and do what I do best: the work of an independent artist. All this leaves me more open-ended than when I started out, although I intuitively seem to stick to my habitual ways of working, which is to seek out to constantly develop my methods and aesthetics when it comes to work with sound, music and other channels of expression, update myself on news within the world of physics and other hard sciences, and keep on investigating the vast material available on metaphysical philosophies. The only question that arises is: In what way, if any, does this concern anyone other than myself? ABSTRACT REV. III - “THE SEARCH FOR RESONANCE” - OCTOBER 2020 When I set out working with my project, I stated that I wanted to «investigate correspondences between frequency and geometry in order to build an audiovisual “alphabet” that could be used as a platform for creating new musical and audiovisual works». How scientific of me. Now, halfway into the project, I have learned that these kind of pre-conceived conclusions of what I am about to find, and how I can apply it to my work, is as far from artistic research as you can get. But it’s not that far from how I’ve always worked, to be honest. Things always seem to just emerge, the moment you start working. What emerged about a year into my project, was an expanded understanding of the word “Resonance”, especially in relation to artistic processes. Questions like: “How to create resonance?”, “Who does it resonate with?” or “Who creates the resonance?”, became more important than an artist only looking at the physical resonating qualities of sound. Not that the physical resonating qualities of sound are not included in the project anymore. They’ve just been given their own space. Investigated through the eyes and experiences of another me. One investigator turned out to be far from enough. So I have tried to split myself, as through a prism. Into three primary colours. To maintain three different perspectives. This way of projecting different self-images has made me able to look at the subject matter through new lenses - some more familiar than others. But all refreshing in their fictitious freedom. Getting others to do the hard work is always a smart workaround. So now I mostly write, and let the characters make their music through me.open exposition comments (0)
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Open Form. An Expanded Performer´s Role. (2021) author(s): Else Olsen Storesund connected to: Norwegian Artistic Research Programme published in: Faculty of Fine Art, Music and Design, University of Bergen
Open form is a designation on a type of composition that is in some degree open. It is also a term in relation to understanding a genre. This means that I do not include for example Bach´s Die Kunst der Fuge (circa 1740), but Stockhausen´s Aus den sieben Tagen (1968) could be included. This project, however, is centered around the composers from The New York Scool, and composers related to The New York School: Christian Wolff, Pauline Oliveros, John Cage, Earle Brown, Morton Feldman and Cornelius Cardew. An Open form composition is graphic, text- or number-based. It may also be a combination of these three notational techniques and/or in combination with conventional staff line-notation.open exposition comments (0) -
RECURRENCES II - mezmerizing (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
RECURRENCES II - mezmerizing a shared practice by Brynjar Åbel Bandlien at Henie Onstad Kunstsenter, Oslo, Norway Saturday 7. april 2018 With Ann-Christin Berg Kongsnes, Brynjar Åbel Bandlien, Magnus Myhr, Marte Reithaug Sterud and Roza Moshtaghi RECURRENCES II - mezmerizing is the second part of Brynjar Åbel Bandlien´s PhD-project as a research fellow at Oslo National Academy of the Arts in Norway in the Norwegian Artistic Research Program Video: Millimedia.no Thanx to Frank Bock, Kai Johnsen, Chrysa Parkinson and Amanda Steggell Program information: #mezmerizingrecurrencesopen exposition comments (0) -
RECURRENCES I (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
RECURRENCES I - a physical lecture by Brynjar Åbel Bandlien at Henie Onstad Kunstsenter in Oslo, Norway. 1st of october 2017. English. 1 hour. With Brynjar Åbel Bandlien, Roza Moshtaghi and Kai Johnsen Recurrences I is the first part of Bandliens artistic research as a fellow at Oslo National Academy of the Arts - department dance (KHiO) in the Norwegian Artistic Research Program (NARP) Sound: Espen Hådi-Siverts Video: Millimedia.no Thanks to Chrysa Parkinson, Frank Bock and Amanda Steggellopen exposition comments (0) -
Dancing Recurrences (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
Dancing Recurrences – a performative practice within the field of dance and dance making by Brynjar Åbel Bandlien My research project aims to articulate and develop a performative practice that I have been working on over the last fifteen years. This practice can be applied to artistic processes within the field of dance and dance making. When a creative process is fully underway, certain situations, events, actions, movements, and states can be recognized as recurrent within the process. Recurrences, rather than being created or produced, manifest or emerge from the dancer´s practice. Once they have been recognized they can be understood and pursued as a forming aspect of artistic processes. The artistic aim has been to follow, participate, co-create and navigate in artistic processes using recurrences. The performative practice of recurrences is articulated by the presentations of #dancingrecurrences and the reflection materials of my dissertation. My two research questions are: How can the practice of recurrences become a way to understand artistic work as it develops? How can working with recurrences become both a performative practice within artistic processes and an artistic work in and of itself? I have been researching these questions from the position of a dancer, and I have asked these questions in different ways; through dance, through drawing and by interviewing other artists, dancers and dance makers. I have initiated my own research process; #dancingrecurrences, together with four other dancer researchers, starting from practice and from there moving on to reflection. I approach recurrences both as a practice and a reflection, with the assumption that within a dancer´s practice the mind and body are so deeply connected that they cannot be considered separately. Reflection is a physical process as well as a mental one, and practice is a conceptualization process as well as a physical activity. At the same time as I have been researching these questions on my own, they have been explored following the artistic processes of the project Amphibious Trilogies by Amanda Steggell, professor of choreography at Oslo National Academy of the Arts (KHiO). This makes the project an interesting collaboration both structurally and in content. However, in the final presentation of my work the focus will be on Dancing Recurrences and #dancingrecurrences. The work has resulted in a final publication of my reflections based on the findings informed by the artistic processes. The performative practice has resulted in three public presentations.open exposition comments (0) -
Dancing Recurrences (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
Brynjar Åbel Bandlien is a dancer, a facilitator of dance and Ph.D.-candidate at Oslo National Academy of the Arts - Department Dance. Over the last weekend of November 2019, Bandlien presented the result of his artistic research project Dancing Recurrences – a performative practice within dance and dance-making. The project was presented between 13:00 and 16:00 on Friday 29 and Saturday 30 November as well as Sunday 1 December 2019 in the Studio at Henie Onstad Kunstsenter at Høvikodden outsiden Oslo, Norway. Dancer researchers: Brynjar Åbel Bandlien, Ann Christin Berg Kongsness, Roza Moshtaghi, Magnus Myhr and Marte Reithaug Sterud. Filmed and edited by Josh Lake and music by Myuu (soundcloud.com/myuu). Supported by Oslo National Academy of Dance and Norwegian Artistic Research Program now Dikuopen exposition comments (0)