The artistic research project Reflective Roaming — Design, ubiquitous fantasy, everyday reality is a critical inquiry into our conditions of living and being in the relationship between the “designing” and the “designed” in the contemporary informatized everyday. In this project, design is positioned as a means to question the status quo of the technocratic promises that fundamentally shapes personal, economical and socio-political dimensions in our everyday lives. What is the consequences of being fully engaged with the technological visions presented by tech corporate institutions? How is humanity positioned in the intersection of information technology and market? What does it mean to be human in the eyes of machines and, the ones behind?
Through foregrounding the unseen technological operations by visualizing and revealing the invisible relationships between design, information economy and humanity, the research processes and the artistic outcome Human Conditions investigated our (un)willingness of being physically and emotionally digitized and informatized, the relationship between the mediated desires and the ones who drive them, and the contemporary conditions of being in the ever-expanding, networked fabrication of almost every aspect of everyday life.
To define concise research questions does not always seem relevant in artistic research. Artistic exploration is not hypothesis-led but could rather be seen as discovery-led (Rubidge, 2005), about pursuing an artistic hunch, an intuitive search on the basis of observation and sensitivity towards certain phenomena that seems interesting to explore. For such a search, as Henk Borgdorff notes, the prevailing format for research design is basically inadequate (Borgdorff, 2012, p. 164).
Nevertheless, a certain delimitation of area of interest is necessary to focus the exploration, and the initial aim of this project was defined somewhat loosely as this:
To develop an improvisational foundation for making music that is closely related to the genuine human musicality inherent in spoken language.
During the work with the project, it has gradually become clearer which aspects of the speech/music relation I am actually exploring, and which aspects are not part of this particular investigation. For instance, when grappling with the many narratives and contexts that came into play when introducing speech into the music, I had the growing insight that I perhaps was as much trying to explore the communicative implications of improvised musical utterances as I was exploring the musical potential of speech. This led to a shift away from speech as spoken word, with its implicit references to the conceptual reality of semantics and language, to a more specific focus on the nonverbal aspects of spoken utterances that are similar to improvised musical gestures, and to how these gestural aspects of speech work in actual everyday conversation. Following this shift, the initial and somewhat general aim to explore speech in relation to improvisation has been developed further to be more specifically about the kind of speech going on in real life social interactions, how such social relations are reflected in stylized speech genres, about the shape of spoken utterances primarily as vocal ‘musical’ gestures, and about how such gestures work in relation to the interaction and interpretation going on in improvised music.
Can Rhetoric Performance Practices and Music-as-speech Contribute to New Interpretation of Contemporary Classical Music?
Can the rhetorical principles from Middle Europe from 1500 till 1800, including the doctrine of affections and figures, be used as parameters and be translated into phrases and articulation in the musical context of today?
What kind of links can be established between what Casals calls “the old natural laws of music” and the rhetorical practices of pre-romantic interpretations?
How can I develop and internalize my own interpretative language in performance of Contemporary Music, inspired by music-as-speech?
ABSTRACT For English version, see the exposition “Sense and Sensibility, performing music by Carl Philipp Emanuel Bach”.
I møtet med Emanuel Bach sin komplekse og uttrykksfulle musikk – med klavikordet, som er like intenst og nyanserikt som det er sart og lydsvakt – med tankane om musikalsk empati, der utøvar og lyttar saman opplever det sanne innhaldet og kjenslene i musikken – oppstår ein trong til nærleik, intimitet. Men kor nær kan me kome? Kor nær vil me kome? Nær nok til å høyre instrumentet. Nær nok til å forstå kva musikken seier – til å følgje med i alle dei vedunderlege svingane av – skarpt vidd. Djupaste alvor. Ømmaste kjærteikn. Boblande glede. Tanken som ikkje let seg – let … seg … – … Men så knirkar golvet. Nokon snur på seg. Klarar ikkje høyre. Kvifor speler ho så svakt? Klarar ikkje forstå. Så mange notar. Fryktelig fort heile tida! Kven var no eigentleg denne fyren – det er veldig lenge sidan han levde?
Dette er refleksjonen i Ingrid E. Hagen sitt kunststipendiatarbeid. Med utgangspunkt i mitt personlege møte med Emanuel Bach (1714–'88) sin musikk og hans idear om musikalsk empati har eg utforska formidlinga til publikum, i all hovudsak på klavikord. Eg har arbeidd i spenningsfeltet mellom intimitet og avstand – prøvd ut ulike måtar å kome nærmare på og kjend på motstanden som oppstår i desse forsøka.
Eg har oppsøkt menneske utanom den konvensjonelle konsertsituasjonen, på jakt etter det nære møtet for empatisk samoppleving av musikken. Eg har framført Bachs musikk utandørs, på museum, for menneske som ikkje forventa å oppleve levande musikk. Og eg har undersøkt relasjonar mellom musikk og språk, både strukturelle, utrykksmessige og kontekstualiserande. Dette har eg gjort for å betre mi eiga forståing og kunstnarlege innleving i stoffet, og for å finne ut korleis ulike vis å kommunisere og utnytte desse i formidlingssituasjonen kan forme opplevinga på ulikt vis.
Gjennom arbeidet har eg vorte merksam på kor mykje ulike konsertformat eller andre presentasjonsformer påverkar kva publikum lyttar til i musikk, og slik kva dei får ut av den. Eg har arbeidd inngåande med ein del av Bachs klavermusikk, og spelt inn CD’en “für Kenner und Liebhaber” med solo klavikordmusikk. Saman med avslutningskonserten i Stranges Stiftelse i Bergen i november 2016 utgjorde CD’en stipendiatarbeidets kunstnarlege resultat. Min kunstnarlege metode har vore ein refleksiv prosess, der spørsmål blir undersøkt i forsøk, utforma i dialog med det faglege stoffet – det vere seg musikalsk, skriftleg eller kunstnarleg erfaring, i eit stadig forsøk på å kome nærmare. Denne ikkje-lineære arbeidsforma organiserte eg som «spor», og kunne slik arbeide med parallelt fleire problemstillingar som grip inn i kvarandre undervegs.
Stipendiatarbeidet blei gjennomført på Griegakademiet, inst. for musikk innan Program for Kunstnerisk Utviklingsarbeid, og var finansiert av Universitetet i Bergen. Rettleiarar var professor Torleif Torgersen ved Griegakademiet og professor Maria Bania ved Högskolan för scen och musik, Göteborgs Universitet.
Tradisjoner på spill, fortolkning og utøving mellom slåtter og pianisme», er et kunstnerisk utviklingsarbeid gjort av pianist Ingfrid Breie Nyhus. Hun er en utøver som står mellom to utøvertradisjoner; klassisk fortolkning og norsk folkemusikktradering. I dette stipendiatprosjektet har hun undersøkt musikalske muligheter i spenningsfeltet mellom kunstmusikk og folkemusikk, sett på likheter og ulikheter ved tradisjonene, og latt dem flettes sammen i sitt spill. Tilsvarende har hun undersøkt musikalske muligheter i dette spenningsfeltet, i samarbeid med et utvalg samtidskomponister om nye klaververker inspirert av norsk folkemusikk.
Arnold Schönberg’s “Das Buch der hängenden Gärten”, Op. 15 (1908/09) could be considered the most important song cycle of the 20th century, yet in comparison to German Lieder from the 19th century, it is rarely performed, and existing research does not focus on the pianist’s perspective. The artistic research project “The Voice of the Piano” centred on exploring the work from a pianist’s viewpoint and articulating performer’s knowledge related to it. Key concerns were if it is possible and appropriate to approach Opus 15 through the poetry and “play the words”, if there is a particular “performative feel” to this repertoire related to either the poet or the composer and if Schönberg’s musical language in this cycle that is often considered the starting point of his so-called atonal period requires new skills and competencies from the pianist.
As a traveling concept journeying through a series of site bound art works made for disparate spaces in Norway 2013 – 2016
My aim is to develop a series of large scale installations, where the relevant architectural space (gallery or other) is both starting point and framework, in a way allowing space and art work to become one, making it impossible to distinguish one from the other. I aim to refect on how various architectural spaces enables disparate art works, and experiences for the viewer. These installations will be developed in scaled architectural models, taking every detail into account, and the fnal work will be built/made on site.
I question whether installation art as a term is about to empty itself of meaning. Installation is often used in various settings where there is no relationship between the space and the art work what so ever. Drawing on Claire Bishops statement; “there is a fne line between an installation of art and installation art” (C.B. 2005 Installation Art, Tate Publishing, pg. 6), I see it as vital for my project to get a better overview of the practical feld of installation art, as well as theories surrounding it, in order to better understand how this term is used within the contemporary art scene.
Potential of the Gap
In Potential of the Gap, Torell has worked performatively with method, place and audience. She has used the inherent structures of places, or its specific functions both as a material to be used and as a method together with the gap. To sharpen a now, in the present and to create a “new place”.
The gap ‘works’ when it occurs as a contrast to the other, it amplifies the movement as well as the relationship to one thing and the other. It exposes something and creates a space for something else. The project has taken place in, about and alongside the public and semi-public space in Venice, Norrköping, Stockholm, Småland, Istanbul, Gdansk and Tromsø.
I began the Norwegian Artistic Research Fellowship Programme at the Oslo National Academy of the Arts (KHiO) in October 2011. My work, Weaving Fabrics for Suits, was developed in the textile department of the Art and Craft faculty. Gerd Tinglum was my first supervisor, and I had two second supervisors, Anne Knutsen and Theodor Barth. Jessica Hemmings was the text supervisor for this reflection. I spent three and a half years on the programme, with my final exhibition Weaving Fabrics for Suits showing at the Oslo Kunstforening (OK) from 13 March to 19 April 2015. The exhibition and an accompanying catalogue were the artistic outcomes presented for assessment in 2015. This reflection text is submitted for review in 2017 and 2018. The reflection is a series of shorter texts – fragments that, to a greater or lesser degree, relate to the context in which they stand. Sections of text in black make up the newly written reflection. Sections of text in green are edited and translated versions of the texts I wrote for the exhibition catalogue in 2015, with the exception of The Blue Suit, which is a new addition written in 2016. These form part of an experiment in poetic writing, and for that reason they have no references. The sections of text in italics are quotes. I choose not to use the term project about my work in the programme. My explorations have not been sufficiently planned or delimited, neither in time nor in content, for project to be a suitable term. My work is built on craftsmanship and my own biography. I use references and theory where they naturally form part of what is necessary to write about. This is not a text about the history of the Norwegian textile industry. It is not a text based on phenomenology, economy or queer studies. It’s a text about sensation, longing, belonging, memory, pride and being gay. I write about my work and about myself, based on my experience as a tailor, weaver and dyer – above all from the perspective of my practice, as a maker.
How can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics?
The instrument I am developing, a grand piano with electronic augmentations, are adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetic perspectives and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes… These are the development loops I am talking about.
I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing who´s decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument´s mechanisms.
The project Textiles in the extended field of painting was conducted in the Department of Fine Arts of the Bergen Academy of Art and Design during the years 2012 - 2015. The research project has two overlapping aims: One is to explore the relationship between painting and textiles through weaving, while the other is to explore a plot of land in the south of Iceland, Þúfugarðar, which I recently acquired, using the plants that grow there to explore issues of belonging and ecological disruption. The project was supervised by Hilde Hauan, professor of textiles at Khib, and the artist Anne Katrine Dolven. The artistic outcome was presented in the solo exhibition colors of belonging at Bergen Kjøtt in November 2015. This text contextualizes and articulates the process and the outcome. Together the artistic work and the reflection constitute the formal result of my fellowship project within the Norwegian Artistic Research Fellowship Program.
From the perspective of the field of classical music, contemporary music is seen not as a natural extension of the classical music heritage, but as a distinct genre. A symptom of this is the fact that we loosely use the term ‘contemporary’ about music to denote works which may be anything up to 100 years old! Contemporary music, conceived of as a genre, ceases to mean the music of our times and, rather, implies music whose aesthetic character and value systems are distinct from the broadly open, accessible and engaging forms of earlier music. We may acknowledge the enormous aesthetic differences between, say, classical and romantic music, but still feel that they broadly occupy the same space in terms of their constituting the mainstream repertoire that is part of our Western musical heritage. By contrast, music from the start of the now-historical period of Modernism right up to the present exists apart, in a specialist niche – analogous, although not identical, to that occupied by medieval and renaissance music. The major educational institutions confirm this stance in the repertoire students are encouraged to work on during their studies, and also through the institution’s compulsory admission requirements. For example, the Norwegian Academy of Music has no contemporary music among its acceptance criteria, which stipulate one work by Bach, one work in the classical Viennese style and one Romantic or Impressionist work, plus one optional work. The implication seems to be that you might choose to perform a work dating from before Bach or after Debussy, but nobody would dream of obliging you to do so. The same message applies to the studies. Courses in contemporary music are offered, but only as an elective course. In all these respects, the Norwegian Academy of Music is typical of general conservatoire practice. By contrast, art schools – and, to a large extent, drama schools – regard contemporary practice as central to their curricula and the skill sets of their graduates.
Organized time. Strategies for transmedial composition
The language that surrounds forms of art where several medias meet, is by no means standardized. Blom thinks of the complete category, several media meeting in forms of art, as interdisciplinary, and within this category he distinguishes between intermedial and transmedial.
Blom presents the example of the ballet. In a ballet you have two or more complete media specific structures working in parallel. Taking out the music, the choreography would still stand on its own. You could also take out the choreography, and the music would still stand on its own. Blom refers to this as an intermedial situation.
In his research Blom has tried to facilitate a situation where movement, sound and light are co-dependent to make sense. He aims for a structure from which you cannot extract a set of sounds, movements or lights and have a complete structure that stands on its own. Blom wants the media to need each other in order for a structure to rise and refer to this situation as transmedial.
I have always had an interest in creating music alone. Writing notes on paper, imagining music, writing down my ideas, refining them and have them materialize later on by others. At the same time, I´ve also found great pleasure in improvising on double bass, making music in a group, interacting with the input of the others, and contributing to spontaneous music making.
Playing professionally in many different styles of music for the past 20 years, almost all have involved some kind of improvisation and predetermined composition. I have also composed music for my own groups, for chamber ensembles, jazz ensembles, film and contemporary dance.
Even though I feel most comfortable while improvising, these two different ways of creating music are equally important to me, yet I have somehow, most of the time, kept the activities of notating compositions and free improvisation separate in my mind. When I, a few times, have tried to combine the two in my own projects, I have never been quite satisfied with the results. It has always felt like my two ways of making music have not melded into a unified expression, but rather obstructed each other in the process.
"Med ståsted i egen praksis som billedkunstner vil jeg utvikle artikulasjonen i praksisen, motivasjoner for denne og sammenhengene jeg arbeider i. I utviklingsarbeidet er betraktninger rundt eget virke, estetikk og diskurs vesentlig for å kontekstualisere idéer, prosess og materialitet.
Prosjektet skal lede til en sammenfattende redegjørelse for bakgrunnen for min praksis, for virksomheten i prosjektperioden og en tydeliggjøring av vesentlige problematikker i kunstnerskapet."
I stipendiatprosjektet utforsker Yuka Oyama det sammenvevde forholdet mellom objekter og subjekter, mellom folk og ting. Hennes kunstneriske utviklingsarbeid befinner seg i feltet moderne smykkekunst og håndverk, og derfra fokuserer hun på bæreren, kroppen, bevegelsene og hvordan bevegelsene relaterer seg til objektene.
Oyama har utviklet både multimediainstallasjoner, skulpturer og filmer. Ved å se på smykker som mer enn et dekorativt moment, tar kunstneren opp spørsmålet i sine verker: hva gjør smykker med en person, og hva gjør en person med smykker?
Living in a mediated and virtually networked society, notions of temporality, the ephemeral nature of existence, and remote presence are increasingly in the foreground. Simultaneously, it appears that the significance of direct lived experience, in all its multisensory complexity, is in decline.
My proposed artistic research project aims to explore this current situation by focusing on invisible manifestations of presence, in particular the rhythms of bodily movement and mental activity. These will form the basis for developing tests aimed at exposing the gap between remote and felt presence, and how related temporalities can act as material for artistic work.
Creating sonic and musical theatre in a contemporary artistic context
My project explores new possibilities for cross-disciplinary music theatre, via the compositional tool of extended vocal practice.The goal of the research project is firstly to create musical/sonic and visual works for theatre, developing methods in which texts, sounds, scenic and kinetic elements come together as equivalent elements. Secondly, to develop a contemporary model for notation and scoring music theatre that can be used by artists across performance disciplines.
Staging dislocation in artistic and non artistic labour
Some time back, we walked over to check out the new Astrup Fearnley Museum in Oslo, while it was still under construction. It was a sunny Sunday afternoon and my Polish friend overheard a conversation. A man was showing his visiting family the enormous cement foundation of the museum. He proclaimed: “Look, this is my work!”
An Expanded Performer´s Role
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.
Introduction This project (2011-2015) is an artistic research fellowship project at the Norwegian Academy of Music, as part of The Norwegian Artistic Research Fellowship Programme.
In this project I have produced solo improvisations that derive from the music of two improvising ensembles to which I belong: Dans les arbresand Huntsville, and I have produced collective improvisations with the ensembles.
The project’s key questions are:
The project is an artistic research project focusing on the saxophones ability to produce multiphonics (multiple sounds on an instrument considered monophonic). It is a personal artistic exploration into the process of unfolding the poetics of these complex sonics and a reflection over the process, methods and the creation of an album trilogy, consisting of acoustic solo music recorded during the research period.
The main question I have been asking myself during this project has been:
What happens if the raw musical material, in the creation of a set of solo saxophone works, is based on the multiphonics only and what this material in itself suggest – possibly independent of any stylistic affiliation?
The goal of this fellowship project has been to investigate the particular qualities of painting and mountain climbing. Do they have their own aesthetics, their own processes and patterns of movement, their own environmental structures and psychology – or do they share some of these characteristics?
What happens if these two disciplines are dissected and interwoven in the production of art? Do they loose their distinctive qualities and intrinsic value, or does the intermingling of them open up new perspectives? The pictures, videos and texts made during this project are both the results of this investigation and the investigation itself.
Throughout her fellowship period at KHIO choreographer Eva-Cecilie Richardsen has engaged and developed a strong in-depth rethinking of her own professional field and re-contextualized this within new contemporary artistic strategies and theoretical questions. Her final goal has been formulated around processing relations in an expanded field of choreopgraphy. With a strong emphasis on process rather than finished works or performances, Eva-Cecilie has sought to highlight the immanent and often hidden procedures in the act of creation in order to address issues of chronology, autonomy, representation and spatial perception. Her project therefore anticipates attention to the very activity forming the artwork, putting this activity itself forward as the artistic result.
“The project will investigate a highly specialized genre of film, the so-called scientific research film (Forschungsfilm) as a format for artistic production. As a genre, scientific research film is characterized by a set of distinct rules, which is supposed to convey a subject matter with the utmost “realism” and “objectivity.” Many of the films elucidate their topics by using animations, diagrams, charts, and voice-over, the tone of which, compared to other film genres, can be very dry. From the characteristics of certain film stock to the effects of editing— every aspect of production is regulated in order to minimize redundancy and to establish the final film’s authority through its unambiguous delivery. In this respect the concept of the scientific research film formulates an interesting counterpoint to artistic (film) production. The project will examine the filmic grammar of scientific research film, that, in terms of its proposed neutrality, understands itself as sheer, uninflected delivery of information and I will try to uncover the aesthetic potential of that language. The project will also try to relate this grammar to that of other film genres. The theoretical research into scientific research film will be accompanied by the production of a series of new films that will examine and adapt its format to varying degrees. The series will form the base of a collection of films with the working title Library for A-Scientific Film. This archive structure is intended to operate both as a research and discursive tool, that I plan to expand in the future. The films gathered in the Library of A-Scientific Film will be presented in outdoor screenings travelling to various venues, as well as through an online platform which will make all films available for download so that they can be used, similar to their paragons, as quasi-educational films.”
“Light can be understood as the absence of darkness, while darkness on the other hand is the absence of light. In philosophical terms, this is a dialectical relationship, an unbreakable connection where light cannot be discussed in isolation from its opposite: the dark. In the space between the absolute brightness and total darkness, all the states that we as interior designers work with, can be found. The project’s goal is to create rooms where lighting experiences/scenarios form tracks in time. The quality of the light and the experience is what I want to be judged by. The final artistic work will as I see it now consist of 3-9 permanent light scenarios in the Column Hall of Jarlsberg. Jarlsberg is an estate and an original building just outside the city of Tønsberg in Vestfold county. It was originally created in 1673 for Peder S Griffenfeld and named Griffenfeldt County. According to the noble act of 1821 Jarlsberg ceased to be a county when the last Danish-Norwegian Count Peder Anker Wedel Jarlsberg died in 1893. Jarlsberg is the only Norwegian county where the descendants of the original aristocratic owners still own and operate the property. The current owner, Carl Nicolaus Wedel Jarlsberg is the thirteenth generation. The castle is mainly untouched since 1812. On the ground floor of the main building is the column hall. The Column Hall at Jarlsberg Manor is presently only illuminated by daylight and hundreds of candles.”
“Hva skjer når at et samfunn blir dypt transformert av en katastrofe? Hvordan tilpasser naturen og menneskets sine overlevelsesstrategier i det nye samfunnet som vokser frem? Hvordan kan man som enkeltstående kunstner arbeide med store globale samfunnsendringer og skape ny innsikt og kunnskap om steder og situasjoner som allerede er gjennomrapportert fra i media? Disse store åpne samfunnsspørsmålene har stått sentralt i Siri Hermansens stipendiatprosjekt “The Economy of Survival” som har resultert i tre kunstprosjekter: Chernobyl Mon Amour, Land of Freedom (Detroit) og Terra Nullius (Kiruna). Prosjektene som i hovesak har resultert i film og fotografi tar utgangspunkt i Tsjernobyls forbudte sone, Detroit´s økonomiske ruin, og Kiruna-området hvor Hermansen har sett på den pågående verdikollisjonen mellom samene og internasjonal gruveindustri. Mens de katastrofale hendelsene i Tsjernobyl og Detroit ikke var planlagt, men like fullt menneskeskapte, er den industrielle gruveekspansjonen i Kiruna-regionen pågående og nøye planlagt av myndighetene, på tross av at grunnleggende samiske rettigheter blir krenket og samenes eksistens trues.”
The theme of Teran’’ artistic research project is following: how to practice and theorize following. The study outlines the emergence of an artistic research method – combining data mining, systems for mapping, storytelling, and translation – and its application in the fields of media art, microhistory, and activism.
The artistic works (several books, text, film, installation and public performance) are developed as the aesthetic outcomes of conversations, negotiations and reflections around questions such as: How are tracking, guiding, following and stalking used as artistic research methods? What does it mean to tell a story today? Why is it important to shift positions and subjectivities? How do these changes also involve processes of translation, between context and scale? How does the work deal with the threshold between public and private? How do the materials serve as guides through the research?
Annelise Bothner-By er interiørarkitekt MNIL og tidligere stipendiat (2012-2015) i kunstnerisk utviklingsarbeid ved avdeling Design. Temaet for hennes stipendiatprosjekt er utstillingsdesign for fagutstillinger for museer. Bothner-By utforsker hvordan publikums romlige tilstedeværelse kan bli del av en utstillings fortellinger.
In october 2011 I started a project that was then called ”Contrabass Clarinet”. I wanted to become a contrabass clarinettist and expand knowledge and interest around the contrabass clarinet. Being aware that I didn’t quit playing the smaller clarinets, I also wanted to become a ”whole clarinettist with many main instruments”.
In this text I comment on my work with my two main research questions and the two main formats in the project: The Studies and the Interpretation Experiments. I explain how the project has changed from the first revised project outline. Some of the things I write are obvious to clarinettists and the text is not as elaborate as the text in the orchestral excerpts book. It is written quite fast in the four weeks after my final concert and it has not been translated by professionals. The main part of the insight and knowledge generated in my project, is found in the Studies and Interpretation Experiments.
Sunniva Rødland’s artistic research project Let the Harp Sound - Updating the understanding of the sound and artistic role of the harp in Norwegian contemporary music makes its inquiries through artistic activity such as performances or creative processes. In this project, Rødland aims to broaden the position of the harp as an instrument in contemporary music. Through multiple performances of modern repertoire, composer collaborations, and new works specifically commissioned for the project, Rødland seeks to challenge pre-supposed ideas of the harp, thereby encouraging a new look at the instrument. As a result, Let the Harp Sound! reflects upon the musician’s role in composer-musician collaborations. The project also involves explorations of the concert format, use of electronics, multimedia concerts, interdisciplinary performances, and improvisation. The artistic result of Let the Harp Sound! consists of over 40 performances by Rødland throughout the project period. These performances include nine world premieres and collaborations with ensembles such as the Norwegian Wind Ensemble, Ensemble Ernst, and Nidaros Girls Choir. The main artistic result was presented at a final concert in Kulturkirken Jakob in 2012, and through two recordings. Video and recordings of performances can be found at www.sunnivawettre.com. The critical reflection contains Rødland’s own reflections on the processes, performances and composer collaborations. The appendix consists of Rødland’s conversations with the harpists Judy Loman, Godelieve Schrama, Elisabeth Sønstevold and Willy Postma, about their experiences and views on playing contemporary music and working with composers. Rødland’s reference lists include 170 compositions and 90 published recordings of modern/contemporary music for harp.
“In his research of The Tartini Style, Sigurd Imsen has explored the art and craft of the 18th century’s violinists. The study concentrates on the florid and highly personal ornamental style of Giuseppe Tartini (1692-1770), a style that was influential well into the 19th century. Imsen has sought to re-implement Tartini’s patterns of embellishments, as well as other stylistic features, as found in the historical material – primarily in Tartini’s obscure treatise of ornamentation. The final result of the project, “The Tartini Style”, has been presented as a recording of violin sonatas by Giuseppe Tartini, along with a critical reflection that accounts for the historical sources, methods and development of Imsen’s performance. The recorded material that has been assessed consists of sonata in F, B.F4, sonata in g, B. g5 (“The Devil’s Sonata”) and the pastorale in scordatura B.A16, the latter performed on the Hardanger fiddle. These three sonatas were released on Pure Audio Blu-Ray by Lindberg Lyd in 2015.”
Annabel Guaita, stipendiat i Stipendprogram for kunstnerisk utviklingsarbeid 2008 til 2011.
Dette prosjektet har hatt som mål å belyse utøvende og fremføringspraktiske aspekter hovedsakelig knyttet til Fartein Valens klavermusikk ved å se på liknende problemstillinger i Arnold Schönbergs, Anton Weberns og Alban Bergs klavermusikk.
Prosjektet har i hovedsak bestått av lengre perioder med fysisk innstudering og arbeid ved instrumentet, arbeid med kildene og diskusjon av stoffet i egne notater. Vekselvirkningen mellom å lese, notere og arbeide på instrumentet gav innspill til konkrete problemstillinger imusikken og bidro til å klargjøre det jeg hadde lest.
Motstanden som underveis oppstod i stoffet og i prosessen førte til en holdningsendring der kontakten med instrumentet og et klanglig grunnsyn til instrumentet ble viktigere enn før. Dette påvirket etter hvert min interpretasjon av Valens verker.
De opprinnelige målene i prosjektet har vært å få “ny informasjon om musikken til Fartein Valen og kunne stå for en kunstnerisk og meningsfull tolkning basert på historisk informert kunnskap”. Fremførelsene mine vil likevel ikke være endelige - de vil være i stadig bevegelse. Men jeg føler jeg har oppnådd en kunstnerisk grunnholdning. Den mangesidige kunstneriske prosessen – veien frem til denne tolkningsholdningen – er reflektert i det jeg leverer som grunnlag for bedømmelsen.
Composed of the words sliding and knowing, the Norwegian term skyvelære means caliper, a device for measuring distance. In her research Ellen Røed reflects on devices and procedures that are used in video art and in the natural sciences. She considers various relationships involved in creating representations; field trips, story telling, gathering or capturing of data, measuring and calibrating.
This is Not a Drum: Towards a Post-Instrumental Practice thematizes the role of the performer in contemporary music. - One of the oldest crafts in musical arts, percussion playing, especially within the Western contemporary music tradition, has developed rapidly and been subject to significant change over the last 60 years. The growing presence of percussion as an autonomous source in classical music was primarily linked to avant-garde movements flourishing in the first decades of the twentieth century. Along with extra-musical objects such as household implements, and electronic devices such as radios, tape recorders, and turntables, percussion emerged as a fresh medium for expansion and alteration of Western music’s building blocks, perfectly suiting an escalating quest, characteristic of the period, to break new musical ground and move beyond the romantic tradition and mainstream conformism. This movement also fostered a new breed of performers. Emerging first as multi-tasking percussionists within the classical orchestra, these performers developed in the works of European and American experimentalists of the 1950s and 1960s into co-creators of a new genre. In the process, they developed skills that were unparalleled in classical music: using all imaginable sound-producing objects as instruments. My project takes as its starting point the notion that percussionists have so many instruments that, in effect, they have none to with which the can genuinely identify.
Under en begränsad tid, tre år, har jag haft möjligheter att byta sammanhang, från en studiobaserad till en institutionsbaserad verklighet, och genom att byta sammanhang har jag fått tid. Det här är viktigt för mig som kulturutövare, att emellanåt få ägna sig åt ifrågasättande i och runt mitt eget arbete. Det har medverkat till en större ärlighet mot mig själv, och att jag har fått den möjligheten är jag väldigt tacksam för. Förändringen av sammanhang har också inneburit att jag har växlat mellan ensamheten i ateljén och tillvaron i att ingå i forskargruppen K-verdi1 . Det har varit utmanande att möta den akademiska och teoretiska världen som filosofi och konsthistoria representerar, men uppmuntrande att få ta del i gruppens engagemang för mitt arbete.
Etter 18 år som utøvende sanger ser jeg at faglig fordypning og utforskning av kunstneriske problemstillinger vil være av avgjørende betydning for min videre utvikling som sang- og scenekunstner. Sangkunst fordrer både kunnskap og ferdighet, og en eventuell utvikling involverer både kropp, sjel og sinn. Jeg er derfor overbevist om at en ressursorientert psykofysisk tilnærming er nødvendig. Jeg vil undersøke virkemidler som bidrar til økt selvinnsikt og kroppsbevissthet og til å avdekke funksjonelle blindsoner.
Gjennom utdannelse og praktisk kunstnerisk virksomhet blir ulike tilnærminger prøvet ut (tekniske, musikalske, retoriske, formmessige, stilmessige, fysiske, emosjonelle, psykologiske osv.) og automatisert. Under sceniske fremføringer skilles det ikke mellom utøverens tanker (selvbilde, forestillinger, mental fokus), kroppsbruk (kroppsbevissthet, gestikk, bevegelser) og de følelsesmessige prosessene (selvfølelse, stemninger, innlevelse) - alt dette fungerer som uttrykksmessige helheter. De ulike funksjonene bearbeides, samles knippevis og automatiseres slik at de kan foregå med størst mulig naturlighet og virtuositet på scenen, og de avspeiler sannhetsgehalten eller ektheten i de ulike uttrykkene i det kunstneriske forløp. Erfaringene benyttes og berikes ved enhver senere innstuderingsprosess, men samtidig som profesjonaliteten og yrkesstoltheten øker, kan det bli problematisk å endre på disse sammenføyde funksjonene og påse at man bevarer kunstnerisk frihet i utøvelsesøyeblikkene.
The only solution in the end was this: To hand in a one-page document with only this sentence: “There will be no critical reflection”. It is a little childish, but it is the Truth (both in a factual and artistic sense). Art should seek Truth. This solution is what I have decided upon. The pages 2 to 87324 should be considered as the footnote to this sentence, which is put on page 1. It is a little like John Cage had written a five movement romantic symphony as a footnote to 4’33, which we should be happy he didn’t do.
The aim of the project is to explore multidimentional, amorphous and vague expressions arising when many aspects of the music are given more independent roles than in traditional musical writing styles. What interests me is to manoeuver within a continuum of means, where the historical sounds of the instruments are there as just one extreme within a continuum.
Looking for Painting ingår i Stipendprogram for kunstnerisk utviklingsarbeid och är utfört vid Kunst- og Designhøgskolen i Bergen, Avdeling Kunstakademiet. Handledare för projektet var Jon Arne Mogstad, professor i måleri ved Kunst- og designhøgskolen i Bergen. Sedan augusti 2011 har det varit Gerd Tinglum, professor i måleri ved Kunst- og designhøgskolen i Bergen. Bi-handledare har under projektets gång varit Sunniva McAlinden, Cecilia Gelin, Gerd Tinglum och Håkan Nilsson.
Looking for Painting har varit ett projekt baserat på måleriet som praktik och den grundläggande metoden har varit att måla. Resultatet av projektet har också varit målningar. Insikterna och resultaten som jag uppnått kunde därför inte ha uppstått i en traditionell akademisk PhD. Projektet påbörjades i oktober 2007 och avslutades oktober 2011. Jag var sjuk under en period (2009) och projektet hade då ett uppehåll. Ett annat, kortare uppehåll uppstod när jag under fyra månader tog ledigt som stipendiat för att utföra en stor utsmyckning på Universitetet i Oslo.1 Den sammanlagda arbetstiden för projektet var tre år
‘Again and Again and Again: Music as site, situation and repetition’ is a project by composer and writer Eivind Buene, carried out during a fellowship under the Norwegian Artistic Research Porgramme. This exposition contains links to the various outcomes of the research, as well as an abstract of the project.
The dance titles of J.S. Bach’s cello suites, derived from French court dance, clearly meant more to the composer than just abstract reference. In Bach’s time, dance practice permeated social life, and it was indispensable for a musician to have an intimate knowledge of the fashionable dance forms. The movements and gestures of these dances inevitably had a profound influence on performance style. In my fellowship project have investigated how the practice of baroque dance could influence my interpretation of the Bach Suites. Learning the essentials of this style and its original choreographies and frequently accompanying dancing, I also explored the dance aspect of the cello suites by way of experiments with historical tempos as well as melodic and rhythmic reductions of the musical material. The project offers a recontextualisation of Bach’s work that emphasizes the close links between the expressive gestures of music and dance. The results have both artistic and pedagogic potential as tools to discover essential aspects of dance character in baroque music.
New premises for the bassguitar based on hardingfiddlers, griots and bluesmen
Could there be a fruitful connection between the proud and old tradition of griot´s in West–Africa and one of the worlds youngest and most unfinished instrument, the bassguitar?
By using the word ”griotism”, I refer to the the West-African tradition of being born into the role of a musician or a storyteller. The role of being a griot, is passed on from parent to child.
The aim of this project is to make a personal synthesis based on a fusion of three different musical traditions: Norwegian traditional folk music, the traditional music of Mali and Senegambia in West-Africa, and the traditional blues of the Missisippi delta in the USA. Furthermore the goal is that this synthesis will make new premises for the performance of the bassguitar.
The world-music methods of ”meetings” between musicians of different traditions, and use of distant sampling and studio remixing is not what I am going to use. By studying each tradition as intimate as possible and applying the learning methods used within each tradition, I aim to make this personal synthesis. My ability to hear and grasp the main elements of these traditions will therefore be the most important issue.
The title ”Bassgriotism” reflects a personal dimention of heritage, kinship and local traditions. In Norway ”griotism” does not exist, but many familys are being particularily conscious of traditions and musical ancestors. As a child, this knowledge was passed on to me both by my parents and my grandparents. During my youth, there was also a very big movement of bluesmusicians in my area. This made a strong impact on me, and left me with a feeling of growing up in two very related musical cultures. The natural next step of studiyng african music came a few years later. This somewhat creole mix makes this project very personal. It is not a calculated fusion of different musical traditions, it is the musical story of my childhood and my search for a indipendent musical voice that reveals where I come from.
African–american music has given the premises for the bassguitar up until now.
This projects goal is to try to borrow sound, playing technique and musicianship from the instruments and music of the three mentioned traditions, and through that renew the playing of the bassguitar. The hardingfiddle and jews harp of Norway, the kora and n´goni of West–Africa and the slideguitar of Missisippi will lend its sound to the bassguitar. Or you can say more correctly, that you borrow the sound of the bassguitar to play these instruments.
The project will be recorded and presented both in a solo situation and as part of differenent ensembles. The natural arena and context for this project are live performances in front of an audience, and this will be done all through the research period.
The collection of writings that I put forward here are a personal interpretation of what a critical reflection, in a practice-based artistic research project, can be. They represent an attempt to evidence the learning process that I have undergone during the last three years, in particular to illuminate the relationships between some of the terminology that I have encountered, and the artworks that have been associated with them. Since I have engaged with different reflective angles and different reflective strategies at different stages in the process, I have decided to submit a collection of texts, and one video, instead of a unified research paper. As is the case with many of my colleagues in this programme, I have found it challenging to navigate the tensions and doubts concerning the form, language and tone this critical reflection should use. There is always the risk of being too academic, or too anecdotic. There is also the risk of favouring an evaluation based on personal growth beyond the ambiguous, but no less significant, standards of the “art world.” As an artist without training in art history, art theory or philosophy, it can also be difficult to ensure that some of the more complex ideas are embedded with the rigour and historical awareness that their traditions demand.
No Text No Link
When I was introduced to musical improvisation, it changed the way I experienced music, both as a listener and a performer. The unpredictability and the processual character of the interplay gave an intense feeling of freedom and excitement, quite different from earlier experiences. I wanted to take part in this type of interplay. I wanted to be in a new position as a performer; to create the music while playing it.
When I discovered the possibility of changing voice sound and the use of it as musical material through live electronics, this also put me in a new position as a performer. I could take part in the improvised interplay in new ways.This did not make me want to leave my position as a singer, the acoustic voice sound and the melodic lines and lyrics were important parts of my identity as a performer. I just wanted to have other opportunities as well.
2008-2012 I was a fellow in the Norwegian Artistic Research Fellowship Programme. The goal for my research was to explore further these opportunities. The following documentation and reflection is about this exploration, and was made available on my website in february 2012
In pursuing this project, we have wanted to single out, describe, and demonstrate some important characteristics of Grieg´s playing. Other performers of his time share these characteristics, many of which have gradually disappeared from performances in our own time. The choice of examples we have made throughout this web is of course made to support our case. It would be quite possible to ‘prove’ or demonstrate examples in opposition to this, both in modern and in early performances. There are exceptions in both directions, most certainly when we concentrate on single aspects of a performance. These are by no means black and white issues! But even though many performers and theorists, most specifically from the early music scene, have contributed immensely to our understanding of tempo modulation and tempo modification, there are in our view still aspects of the late romantic performances that most performers of today do not fully comprehend, specifically with regards to phrase junctions, musical syntax, and phrase structure. Although there is good reason to believe that many of the performance features we find in the early years of the recording era originated in even earlier performance styles, we have chosen to present ‘our’ Romantic performers in their performances of the Romantic repertoire. In this repertoire we often find a prevailing cantilena ideal, and the performed melodic idioms correlate closely with the composed idioms.
Development of new repertoire and improvisations and extension of the sound palette for electric violin. Development of musical intelligence and aesthetic understanding in the field of electronic music through musical interaction with composers, musicians and programmers. As part of my project I have commissioned new works by Henrik Hellstenius, Jon Hegre, Thomas Dahl, Peter Tornquist and Knut Vaage. I have specified that these works should include sections of improvisation that opens up opportunities for the performer to play chamber music with the electronics. The use of improvisation, electronics and different software affects the cooperation between the performer and composer. By building on my knowledge of programming tools and electronics, I 3 will be able to interact with the composers on a completely different level. A precondition of the commissions is that the composer should not deliver a completed work in which the performer simply plays the score. I want to be able to share knowledge about form, gestures, sound types and techniques, as well as to make use of my long-standing knowledge and experience of improvisation and playing and interpreting contemporary music. In order to improvise with the computer, it is my strong conviction that it is necessary to learn the computer programmes’ ‘personality’.
From around 1900 and towards 1945 there was increasing interest in colourisation of music through the use of extended instrumental techniques in various branches of art music, from the orchestral continuation of the Romantic tradition, in expressionistic chamber works, through national schools and inspiration from folk music, to new and radical musical experimentation. The most important turning point for art music in the 20th century was without doubt the early breakdown of tonality. Broadly speaking, one can say that this turning-point provided a series of new tools that led composers into the direction that dominated the last century: Modernism. After 1945, composers and performers affiliated to the modernistic and experimental movements made significant contributions to the development of timbral possibilities in every group of instruments, and more specifically to the development of techniques on single instruments. At the same time, the paradigms in composing and thinking of music, both in America and Europe, made it necessary to rediscover traditional instruments, thus opening up for sounds previously unheard of. Serialism (as developed by the composers Pierre Boulez and Karlheinz Stockhausen) resulted in an extreme formalisation and individualisation of the four main parameters of music – pitch, duration, loudness and attack – and when, after a while, these conventional parameters began to be regarded as fully exploited, composers began looking for new ways to develop their music. Timbre as a musical parameter then established itself as one of the primary elements within the new music.
The article aims to show that the theory of open and autopoietic systems may be applied in such a way as to transcend the sterile opposition between autonomy aesthetics and culturalism. A theory of contemporary and modern art as an observational system is outlined. Art is seen as specializing to an increasing degree in cannibalizing the discourses and modalities of media & communication industries. Art is thus a parasitical observer (Serres 1980). Why should one affect a shift in framework? What are post-Luhmannian optics on contemporary arts and media able to do beyond what post-structuralist and postmodern optics already achieve? Post-structuralist aesthetics deal with contingency, insecurity, paradox and autoreflexivity, surplus meanings, and the complexity and decentering of the subject. Switching to systems theory allows us to treat such issues without building a wall of irrationality around the arts and the humanities. It handles these important issues in a systematic manner which links up with scientific discourse and with the advanced problem solving and criticality of other social domains, like politics, business and the media industries. Notably the rigueur and self-reflectivity of the conceptual framework allows us also to define limits of our approach. What is it about art which aesthetics cannot and should not explain?
This text was written as part of the research fellowship project Second Hand Stories at Bergen National Academy of the Arts in 2007-2011 and submitted in order to meet the requirements of critical reflection posed by the Norwegian Artistic Research Fellowship Programme. In an international perspective, the Norwegian Artistic Research Fellowship Programme puts particular emphasis on the artistic element of the projects. The actual work in the studio formed the core of my project and this text can hence be seen as a companion text or travelogue accompanying the reader through the different stages and themes of the work.
In its interim report, the Assessment Committee requested that I return to the critical reflection to re‐examine the core questions of the artistic research project Being the Director – namely “What is a vision? And, what kind of vision do I have as a director?” – focusing on Torpedo and Red. I appreciate this opportunity to do so. When I started out, I saw vision as something project‐specific and practice‐ oriented, in most ways instrumental. Now I have a more holistic understanding of the concept, inspired by my experiences with Red and Torpedo, and the artistic research project as a whole. My intention was to express this transition in the documentary Being the Director (BtD). The Assessment Committee acknowledges the complexity of the documentary form, and so do I. In a documentary, the majority of the reflection is in the selection (editing), and thus invisible. So in returning to the same questions, I prefer to do so in writing. The committee has asked for a personal and probing account. I will do my best to provide just that.
This project concerns artistic research in Free Improvisation as both a method and what was arguably becoming a genre within Experimental Music in the latter part of the nineteen sixties. A central issue in my project has been to seek to identify what separates Free Improvisation from other improvised musics, as well as to identify experimental compositions from the abovementioned period that can be related to the characteristics of freely improvised music. A focal point for this research has been the composer and improviser Cornelius Cardew, and the impact the ensemble AMM had on his attitude and approach to music-making in the same period. Cardew’s growing interest in radical politics towards the end of this decade is related to his radical music making during the same period. This interest can be viewed as a democratic and socialist approach to music, as opposed to John Cage being inspired by individualist anarchism.
In the revised project description, I stated that the subject of the fellowship was the practice of improvising diminutions in the period from about 1350 to about 1700. The objective of the project was to become able to improvise diminutions in three historical styles, as reflected through three historical documents: The manuscript Codex Faenza1 (ca1420), Sylvestro Ganassi´s Opera Intitulata Fontegara2 (1535) and Christopher Simpson´s The Division-Viol (1659/65).3 By and large, this corresponds to the outcome of my research period. The most important deviation from this course has been the emphasis on Codex Faenza, on the cost of the attention given to the two other sources, especially The Division-Viol. (An account of these adjustment was given in the annual reports of 2006 and 2007.) This is also reflected in the final documentation (see below).
Sami jestertradition in yoiks and storyrtelling and contemporary stage expressions
Improvisations in Scandinavian traditional guitar
Can pieces of dance tunes from Nordic folk music, organized according to principles from jazz, provide source material for building an improvisation language?
Scandinavian folk music traditionally used for dancing consists of melodies, organized in a limited amount of measures and sections (typically two or three eight-bar sections, played with repeats). The organizing principle in ensemble playing is for every musician to learn the melody first, and to let each following contribution be dictated by it. Variations in arrangements occur frequently in modern-day interplay, with harmony parts, chord changes, counter rhythms and dynamics meticulously employed in order to avoid monotony. But interpretation of the melody remains the main activity.
The ability for creativity on the spot is big among folk musicians, though it is seemingly framed by the strategies discussed above. I have yet to come across a methodical investigation of using material from traditional tunes as a musical vocabulary for improvisation. Consulting supervisors from the folk and jazz genres, I try to use source elements from the folk repertoire while employing organizing principles from jazz. As I present these ideas on several instruments, and over rhythmic foundations in a slightly modernized folk idiom, I’ll try to encourage the use of these ideas in contexts not necessarily associated with traditional music. The project seeks to encourage participation, and may possibly work as tutorial material.
Planlagt intuisjon, bevisste veier til det ubevisste
Megamonstermuseum: The art spehere as a public arena
Skildring og forteljing
Nye klanger for euphonium
Wikiphonium (wikiphonium.org) was carried out as an artistic research project by Geir Davidsen as research fellow, within the framework of the Norwegian Artistic Research Fellowship Programme in 2005–09. The project was designed to explore and develop new contemporary playing techniques for brass instruments through commissioned works for the euphonium. This exposition is the result of the authors’ longstanding joint interest in and discussions about the artistic research domain. Davidsen is the primary creator and performer of the Wikiphonium project. Blix’s role in the progress of the project has been as a research peer, advisor, conversation partner, and critical listener. Blix and Davidsen’s collaborative writing of this article can be regarded as an articulation of reflective processes related to the Wikiphonium project, outlined as a discussion in dialogue with works and writings in the emerging field of artistic research. The collaboration has consisted of discussions between Blix and Davidsen, some of which were recorded, joint music listening and shared literature readings, and an open-minded attitude toward different ways of thinking and expressing opinions. The aim of the dialogue between the authors was to use each other’s creative understandings as tools for critical reflection.
Kvarttonemarimba: Utvikling og utøving
New creative possibilities through improvisational use of compositional techniques
The project “New creative possibilities through improvisational use of compositional techniques, - a new computer instrument for the performing musician”
is part of the Program for Research Fellowships in the Arts. It explores the artistic potential in the cross-over between real time composition and improvisation. A computer based instrument that facilitates improvisational exploitation of composition techniques is developed as part of the project.
The artistic documentation was updated January 11th with material from the live performance in Trondheim December the 1st 2007.
Signal flow charts for the audio installations were also added the same date.
The written reflection was completed on January 11th, and the project documentation can now be considered complete.
Improvisasjon - interaksjon - komposisjon: bruk av feedbacksystemer som kompositorisk modell
Sound Installations and Other Cross-Disciplinary Projects
Coming from a musical background, having studied composition at the Grieg Academy, I became more and more involved with sound installations in the late 1990s, influenced by among others the work of Brian Eno, John Cage and Erik Satie. In a somewhat similar manner to Risset (2003) I wanted to sculpt and organize directly the sound material, focusing on the sonic qualities. In 2000 I started working at BEK, Bergen Center for Electronic Arts1 , and quickly became involved in a number of cross-disciplinary projects, collaborating with other artists most often coming from other backgrounds than my own. In the next couple of years I increasingly realized that the kind of art projects I wanted to work on did not only depend on a musical understanding, but also to a high degree had to be informed by other art practices, most notably contemporary fine arts. I felt a growing need to widen my own horizon and deepen the understanding of the different fields I was getting involved in. For this reason I applied for, and was accepted, a research fellowship in the arts in 2003, at Bergen National Academy of the Arts, Department of Fine Art. During my research fellowship I have aimed, through work on installations and other interdisciplinary projects, mainly in collaboration with other artists, to explore installation and other interdisciplinary forms of expressions as points of tension and intersection between contemporary music and contemporary fine art.
Mind, the Gap
Synaesthesia and contemporary live art practice
‘Mind, the Gap’ is a practice-based arts research project dedicated to developing Live artworks that are inspired by the notion of synaesthesia - the cross wiring of sensory perceptions. The manifestation of this research is an experimental instrument with synthetic synaesthetic qualities - The Emotion Organ. The 3 year project is hosted by The Norwegian Theatre Academy, Østfold University College, Fredrikstad, Norway within the framework of the Norwegian Artistic Research Fellowshop Programme.
Fra bevegelig bilde til organisert lyd