The primary question for this artistic research project was:


Can I, through systematic research, uncover new artistic potentials in the relationship between my improvised solos, resonating artifacts and the sounding room?


Through “Rooms of Resonance”, I have investigated technical, musical and artistic potentials in applying audio-drivers on selected objects as a live amplifier for my acoustic clarinet improvisations. The project started with developing and applying relevant technology, followed by a string of various process concerts, where two has been documented as surround-sound videos. The research has proven and realized potentials in creating immersive listening formats, which allows an interplay with the live performing improviser and listeners. Concurrently the process has been self-monitored and developed through the use of digital logbook and interdisciplinary listening. These methods have especially helped with tracking and developing the project in a way that has strengthened not only the musical, but also artistic and societal potentials.


This exposition has been peer reviewed by Dr Salome Voegelin, Dr Gunhild Mathea Husvik-Olaussen and Søren Kjærgaard. A common feedback was that it would strengthen the first draft of the written exposition, if the method for the written part was conducted in a more academic manner. Meaning an academic approach to critical reflections on context and potentials.

I am very thankful for their inputs, which in different ways are adapted in this exposition. As mentioned in the introduction, my ambition with exposition is to contribute with an artistic and personal dissemination. I have no academic prerequisites or ambitions for a direct contribution to this tradition. In Europe I see different approaches and discussions about to how to conduct an artistic research project, and I am aware that this project is very artistic in its methodology and dissemination compared to others. This artistic research project opens up for many art forms and academic traditions due to its multifaceted nature, which is the beauty of an artistic approach. This, held together with a frame of making a dissemination that can be experienced within one hour, also called for strong dissimilation priorities.

I agree with all the peer-reviewers and attempted to adapt their notes to this final exposition together with co-editor Jacob Anderskov. I hope that this artistic research project and its entrepreneurial and collaborative nature, will open for future collaborations and projects that includes other dissemination traditions.