Research Catalogue

This exposition shows information on projects and project results from research fellows who have done their artistic research within the frame of the Norwegian Artistic Research Fellowship Programme. This Fellowship Programme is parallel to other research educations organised as academic PhD programmes. Its intention is to secure high level artistic research, and leads to expertise as Associate Professor. The Artistic Research Fellowships Programme is among the first in this field in Europe. The research fellows have completed their projects at one of the Norwegian Institutions that offer one or more creative and/or performative art education programmes and have participated in a common research school run by the Programme Board. This exposition present research fellows that have graduated, and the aim for the exposition is to make visible the artistic research funded, or otherwise supported, by the programme. The author is the administrative leader at the programme and there has been no review on the exposition.

This exposition shows information on projects and project results from research fellows who have done their artistic research within the frame of the Norwegian Artistic Research Fellowship Programme. This Fellowship Programme is parallel to other research educations organised as academic PhD programmes. Its intention is to secure high level artistic research, and leads to expertise as Associate Professor. The Artistic Research Fellowships Programme is among the first in this field in Europe. The research fellows have completed their projects at one of the Norwegian Institutions that offer one or more creative and/or performative art education programmes and have participated in a common research school run by the Programme Board. This exposition present research fellows that have graduated, and the aim for the exposition is to make visible the artistic research funded, or otherwise supported, by the programme. The author is the administrative leader at the programme and there has been no review on the exposition.

Commuter music - promo video

This is a presentation of the project “Music with the Real”, undertaken from 2014–2017 within the Norwegian Artistic Research Programme, at the Norwegian Academy of Music. The artists in the project were percussionist Håkon Stene, the composers Carola Backholt, Matthew Shlomowitz, Henrik Hellstenius, Johannes Kreidler and Clemens Gadenstätter, and the ensemble Asamisimasa. In this exposition you find all the works that was composed in the project together with articles about the project and videos from concerts and seminars.

Dokumentere KU-arbeid ved NMH

Plan for dag 1 og 2

Artistic Research Norway has national responsibility for promoting and stimulating artistic research in Norway by promoting reflection and insight based on artistic practice and encourage interdisciplinary communication. Artistic Research Norway is a meeting place for art education institutions and a national contact point for small academic environments. On this portal you will find information about our history, main activities, projects supported by the Norwegian Artistic Research Programme, ph.d. fellows and candidates in artistic research from Norwegian Higher Education Institutions and Norwegian Artistic Research School.

Plan for dagene

This method allows us to create a global menu accessible from all pages, and editable in one location

A brief document submitted to Seminar 4, autumn 2024

This is an exposition that presents material for my midterm evaluation

Denne eksposisjonen viser forskjellige saker og ting i herlig kakafoni underveis i PhD-forløpet

an exposition to be referenced

Til veiledere og andre interessenter

This artistic research investigates what kind of music arises from multiple musical identities. The answer is the album III, a collaborative work with guitarist Juhani Silvola, supported by a research exposition that documents and reflects upon the creative process, and an extensive timeline showing it as it unfolded. The main argumentation within the work revolves around the importance of distinguishing between musical identities (plural) and personality (singular). The rationale behind this is to generate productive creative friction – to use the knowledge of multiplicity as a tool – to identify and push against boundaries and have knowledge from one identity inform, and expand, another. Identities are multiple, situational, and enacted through doings: (in my case) the drummer, the singer, the producer, the programmer, et al. They coexist, each with its own expectations, vocabulary, and criteria for success. Personality, by contrast, is shown as the continuous thread – the container in which all identities meet and negotiate, providing coherence without dissolving difference. The research unfolds across three phases: Startup, Deconstruction, and Assemblage. Methods include archival listening (revisiting accumulated recordings as material to draw from, either through self-gratification or analysis), physical and material constraints, custom software tools, and playing my instruments. In some cases, peripheral projects became ‘methodological sites’, allowing for focused and longer-term exploration and research. Spirit of Rain, Be Like Water, and a duo with Hans Martin Austestad, all function as experiments where methods combine and generate knowledge. A central concern is the role of machines in creative practice. Noting, but not necessarily drawing on, philosopher John Searle's (1980) Chinese Room Argument and the concept of procedural agency, this work follows a line of thought in which machines may exhibit tendencies, but not personality. What emerges from human-machine collaboration is shaped by this asymmetry. The exposition, built using HTML and hosted in the Research Catalogue framework, is not a linear argument entirely, but rather a pathway through sounds, texts, videos, and fragments – organized semi-chronologically and tagged by function. It demonstrates that answering a question about musical identity requires both artistic result and theoretically aligned reflection.

testing overrides

En exposition used during my presentation at ARF in 2023.

The 12th SAR Conference on Artistic Research of the Society for Artistic Research in 2021 was hosted by mdw – University of Music and Performing Arts Vienna in cooperation with the Academy of Fine Arts Vienna and the University of Applied Arts Vienna. It was oriented on the three attractors "care", "dare" and "share" and was the first SAR conference to be organized as a live online event. The online format also reached out in order to facilitate participation by individuals from new geographical regions and invited artistic researchers to share their work, processes, methods, discoveries, knowledge interventions, new insights, and understandings and to engage in exchange—in actions and words, and in ways complex and simple, conventional and unconventional, robust and fragile.
A selection of conference contributions has been assembled for documentation in this roof exposition managed by Jonas Howden Sjøvaag.

In their Paper Performance ‘Elastic Ekphrastic,’ Korsten & De Jong will test the translatability of an ‘original.’ They will explore what narrative is formed out of the context of instruments of translation. What is the agency of misunderstanding, misinterpreting and miscommunication? And if one translates, does one free a text from a fixed meaning or does one force the text in yet another prison of meaning? Korsten & De Jong conduct artistic research through recorded dialogues over the phone with bad connections and interruptions. After transcribing the dialogues, they combine different conversations, they switch position, manipulate the texts and translate them. They will attend the conference via a live conversation in a long distance call with Austrian interpreters that live outside of Austria. This paper performance also reflects on the current SARS-CoV-19 measures in which live communication is a dangerous action forcing the dialogue to take place behind plexiglass panels and computer screens. “If science attempts to understand the phenomena of the world, this understanding is communicable only when the world re-emerges through the scientist’s instruments – either through statistics, or formulae, or diagrams, or images. Thus, it can be argued that the world is presented after undergoing a treatment of translation. (12)”

An Ecology of Care provides a philosophical basis for developing practical and aesthetic ways to requalify and improve the experience of being-in-the-city. This experience involves the relationship with spatial boundaries that inform gestures in the urban environment, such as fences and walls or social and political limits; it also implies our being sensitive to temporal boundaries that tacitly shape our perception of the city, such as disposable architectures, working rhythms and natural cycles. In this video paper, we focus on a common performance-drawing project, carried out in two different cities: Helsinki and Porto. Through several actions, we pretend to challenge the dichotomy between human gestures and natural cycles and address the complexity of the relationships between spatial boundaries and the idiorhythm of walking in the city. Our project begins with the premise that the observation of gestures allows us to understand the way we exist in the world. Also, the re-enactment of those gestures in art practice allows us to understand, in an embodied way, the existential and social changes we are currently undertaking. In “Follow me”, a drawing performed on the fence surrounding the construction of the new KuvA (Helsinki), we problematise drawing as an act of care and relation, built upon idiorhythmic, embodied and communal gestures in a shared space. In “Insula Perdita” we re-enact the death of palm trees in the city of Porto and the inevitable natural cycles and changes that moulds the perception of the city as a frame and ecosystem. Both practices explore approaches to the Ecology of Care as a frame for artistic research, through the geographical concept of Throwntogetherness: to perform/draw as a responsive relationship between human and non-human (objects, plants, animals) to emphasize the interdependence between non-human and everyday life gestures in building the value of communality.

No abstract provided

Saxophonist Joel Diegert and composer Adrián Artacho began a collaboration in 2014 with a question about real-time electronics in contemporary music: what kind of works could be produced if the electronics were treated as a ‘part of’ the saxophone? In this presentation they look at the composer-performer relationship with a particular interest in projects that employ real-time electronics. They will describe some of the challenges that can arise in co-creative work and offer strategies for collaboration that center on the idea of ‘overlapping competencies’. The work aubiome for soprano saxophone and live electronics, which was developed during Joel’s doctoral research, will be referenced as a case study.

A telematic performance of a simulated Pen and Paper Quartet. Delay chains of both audio and video, as well as, three approaches to work with dynamics are used as main parameters in this digitally mediated live music performance. Part of an artistic research project by Anders Lind at Umeå University in Sweden.

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No abstract available

Autoimmune diseases have become a global health problem, with rising numbers of people affected. But cause and genesis of these diseases are still unresolved, so finding new ways to understand the underlying processes is in demand. Aiming at a new conception of autoimmunity I developed a technique titled “Exercises in Existential Eccentricity” (EEE) within the framework of autoethnography and the biophilosophy of Helmuth Plessner. The EEE were designed to investigate autoimmunity in a practical and daring way by exposing the researcher in her vulnerability as being affected by a chronic autoimmune disease. The results are expected to expand our understanding of autoimmunity and provide new images to help people cope with autoimmune diseases.

Your morning routine probably consists of waking up, heading to the loo, washing your hands, face, and teeth, then proceeding to the kitchen to make a cup of coffee. You’ll repeat this routine tomorrow but this time, I invite you to perform blindfolded.

Brass Art work with scanning technologies such as 3D (Lidar) and 4D (Kinect on-range sensors) to capture collaborative performances in unusual settings. The research foregrounds Virginia Woolf’s stream of consciousness as a performative method to record the artists’ presence in her Writing Room (Rodmell, UK). The project necessitated a great deal of care as the tiny museum space is usually viewed from behind glass, by the public. Brass Art captured the dynamics of this threshold space without leaving a physical trace. In daring to progress their experimental performative approach using ‘colour filters’ to disrupt the binary shadow realm and exploring the future potential of virtual reality - Brass Art aim to bring this muselogical setting alive for new audiences.

What happens to queer community, bodily expression & identity when queer spaces are closed & communities move online? This workshop critically reflects on, & invites participation in, the collaborative project Bois of Isolation: An Instagram platform for people of marginalised genders to share selfies of their spaces & processes of queering gender binaries in the pandemic. The project uses hashtag commons & selfies to challenge the hegemonic visual culture social media can perpetuate: Binarised gender stereotypes, exclusion of bodies deemed ‘other’, & hierarchies of value in which white, able-bodied, heterosexual, young & ‘healthy’ are supreme. Bois of Isolation contributes to communal aesthetic spaces in which bodily & gender plurality & fluidity are expressed & celebrated.

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What is the political potentiality of artistic research? What are the discerning differences in the currency of care in artistic practices and in collaborative strategies of sharing when artistic research is reoriented from the perspectives of colonial histories and from the global south? What are the measures of dare in the relationship between praxis and poiesis? Could propositions from decolonial theories offer a revitalisation of artistic research that attends to epistemologies that have been neglected or repressed in western art practices. In this presentation I describe the connections between artistic research and decolonial strategies by proposing methods that facilitate epistemic disobedience, experimentation and counter-institutionalised artistic forms. As a film practitioner and researcher, I am interested in making visible elided histories and exposing marginal or oppressed experiences. Working with archives is one of the tactical moves in a decolonial strategy – a political praxis-poesis to reclaim certain images and positions that would otherwise not be visible. I will ground these propositions in my recent project developed as a trilogy on race, gender and sexuality; sourced from a single institutional archive to reflect processes of negotiating what Walter Mignolo describes as aesthesis – in a movement between representation and enunciation.

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Please enter your own abstract here.

Unearthing means to dig something up, to uncover it and bring it to light. It is a transitive verb, an archaeological action onto an object, often from the past; clearly, a method of artistic research. Through archival, fictional and performative examples, I propose Un·Earthing as a complimentary interpretation in relation to future life in outer space, akin to notions of un-learning or de-colonizing. Un·Earthing, used intransitive, is the transformational process humans have been starting to undergo since the Space Age by leaving Earth and at the same time, realizing our own planet’s importance for life, both human and non-human. Un·Earthing is triggered by the unknown, unprecedented distance & isolation, at same time it creates a new consciousness for caring and sharing.

No abstract available

The relationship between performance and reflection is rich and complex. Great performances can sometimes seem the spontaneous products of mysterious inspiration; however, most musicians would agree that, to attain its full potential, a performance must arise from a thorough investigation of the artistic acts of interpretation and expression appropriate to the work. When this investigation becomes an overt research process, artistic choices begin to be based on conscious critical and self-reflective evaluations and decisions — and the resulting performance to be informed by a wide range of hermeneutic and analytical approaches. But the promise of such a multi-stranded approach is vulnerable, and sometimes compromised, when the performer’s skill and knowledge in the associated disciplines does not measure up to their performative artistry and insight. Since Artistic Research, in particular, often posits a model in which all associated knowledge should reside within the performer, this can be problematic. So, is there an alternative model that, nonetheless, maintains the skills of artist and scholar in a mutually beneficial configuration? And, if so, how does such a model uncover the kinds of performing knowledge that may lead to a specific, unique interpretation? This exposition reveals a constellation of approaches around a central premise, namely that musical interpretation may be read as an inherently creative activity based on its own systems of knowledge which, whether conscious or intuitive, ought to be capable of being articulated in words as well as in practical music-making. In articulating this premise within the project, the process of interpretation is seen as emerging, ideally, as a form of co-creation, as it were, in which the performer ‘composes’ the work anew from inside the act of performance and, in doing so, works in a creative partnership with both composer and audience. Among the possibilities offered by such a model is the prospect that the term ‘performer’ can become a multiple entity of individuals engaged in a creative partnership of their own and articulating in words the impulses and mechanisms at work in this partnership.

Mariam Kharatyan Chapter 3 of 7: "Fingerprints"

The Otherness of the Self - how to curate a Seventeenth century Opera and sing all the Roles yourself. (or: -how to connect and disconnect the roles of the Baroque soprano and her postmodern Otherness. ) (or - a Voce sola in dialogo) -Is it possible to perform an opera and sing all the roles yourself? Is it even possible that we’ll come closer to the core in the music and the narrative if everything is anchored in one single person? -Can I use the interpretation of opera characters to better understand my different roles as a musician - the baroque soprano and the new music singer? - Am I two (or three, or fifty) different singers/musicians/roles depending on what genre or style I’m performing? What divides them? What ties them together? What factors determine how the voice will work, or not? - What can I use from my knowledge of early music in my practice as a performer of contemporary music, and vice versa?

The human voice is vital to the creation of rituals around important and existential life events: to celebrate, to mourn, to commemorate, to protest. Speeches, chants, singing, intoning, shouting are all used to mark these events. What happens when the voice itself is dangerous, instead of healing? How do we engage in ritual and vocal expression? This explores the actions and sounding strategies taken in response to the COVID-19 pandemic in Oslo, spring 2020.

An artistic Postdoc project intended to create an environment for musical innovation, to explore the design of new physical and electronic instruments and to host the international NIME conference 2011. This interdisciplinary artistic research project was a collaboration between the composer Ivar Froundberg, Music Technologist Aleksander Refsum Jensenius and percussionist Kjell Tore Innervik. A project to enhance the possibilities of music performance for the many and for the few located at the Norwegian Academy of Music.

Becoming Animal has sought to explore the boundaries and parralels between the musical bodies of different creatures.

Mal for personlige FOU-sider

Abstract The E(c)lect(r)ic Guitar in The Mechanical Forest is my investigation into how to expand my improvisational palette as an electric guitarist, by working with compositional techniques and concepts used in composed contemporary western art music. In my work, I have focused on incorporating movement, microtonality, as well as multimedia composition techniques and application of technology, both in the performance as well as in the creative process. A key focus of my artistic practice has been exploration of the transcorporeal nature of my relationship with the guitar. This has resulted in creative work which has grown from a deep focus on the materiality of the guitar and the visual, tactile (touch) and kinetic (movement) aspects of sound production. Research Questions 1 How can I use compositional techniques and concepts from contemporary composed western art music to expand my palette as an improvising guitarist? 2 How can I transfer musical techniques and concepts, which often are used in a strictly predetermined environment, to a musical situation where improvisation is an important element in the performance. 3 How can I reconfigure/extend the electric guitar, and how can the reconfigured/extended guitar reshape the way I create and perform music?

Dette er noter og lydeksempler til prosjektet vi har diskutert

Videos from a process: Good Foundations - solo improvisation for the drum kit

Til presentasjon - skrivekurs høst 2023

Til presentasjon - skrivekurs høst 2023

Trailer and finished product for Kulturrådet

Trailer and finished product for Kulturrådet

Bio and short abstract for Seminar 2

A short text for seminar 3

Whiteboard til presentasjon i låtskrivergruppa, UiA 280423

A first draft for an essay on Best Effort

This is an essay that tries to say something about a predefined attitude of network expansion, exploration through creative distance, and how the element of uncertainty and trust can lead into very fruitful paths, ending with pleasing artistic results. It takes the creation process of a piece of music as a starting point, and builds and reflects on that.

My exposition titled "be like water" is a required read / listen before my digital presentation at the ARF 2024. I want to present the current status of my work through a 20 minute musical performance, because I want the artistic practice to take the lead in this. In my project I find it helpful to follow the logic of Peter Tornquist, in which musical (or artistic) questions will have musical (or artistic) answers.
This is also the reason for the summarized look and feel of this exposition.
The exposition is necessary to familiarize with, because it presents background, timeline and other elements important to the research I'm doing. In summary, it consists of:
- a short sound clip to give you an idea of my musical background and starting point for the research - a sketch for the contextualization of my project - a sketch outlining reflections and stuff that came up - references relevant to the artistic result in this presentation - a timeline presenting a summary of the progression from start till now - challenges and considerations - example of how the artistic research leads to new discoveries outside of the planned scope