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

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.

Abstract goes here

Blog to present news and updates relating to the ongoing project 'Craftmanship', by Kjell Tore Innervik and Håkon Høgemo

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

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