Research Catalogue

Artistic research exploring the action of collapsing or an attempt to collapse. Spend 3 sessions working with other dance practitioners in a studio. This text will be a collection of thoughts gathered after movement research. The material was collected through talks, writing and drawings. With this exposition I am sharing early stages of something I am calling an attempt to collapse

Collection of My Sculptures from Liquid and Air, into Solid: Sea Water, Rain, Smoke, Etc.

This exposition gathers all the essential information needed to get started with the Research Catalogue (RC) platform at the Iceland University of the Arts (IUA). It offers a clear overview of how to create a profile, start an exposition, and navigate the basic functions of the platform. The goal is to provide staff with a central reference point for working with RC in the context of artistic research and institutional use.

This essay examines the challenges of generative AI in composing ‘new’ music. The focus is on the commercial generative AI applications (i.e. AI music generators) due to their prominence in the mainstream cultural and technological discourse. The essay adopts a philosophical rather than a technological approach, situating the use of generative AI in music within a broader societal, cultural, and environmental context. If AI and music (understood as normative practices) are majoritarian, molar, and arborescent entities, then the approach taken here is Deleuzian: minoritarian, molecular, and rhizomatic. By engaging with their fault lines, disassembling and reassembling their structures, and connecting them to the wider world, the essay presents an alternative way of thinking about AI and music – and AI in music – and proposes one such possible application.

Vanessa Theme Ament’s "The Foley Grail" was, for a long time, the only publication to discuss in detail the art of film sound effects (foley). In this issue, we review the third edition of the book while in dialogue with the author herself.

Norths: Navigating Instability By Ear exposes a diversity of transdisciplinary artistic research threads within Norths, a growing body of environmental sound art practice at an intersection of data and listening experience. By rendering intangible data representations physically perceptible, ‘northness’ - understood as location, place, idea, and fiction - becomes a site for material interrogation of ‘standards’ applied to measurement, perception, being, knowing, and acting. Critical phenomenological and ecological issues emerge from the noise encountered when sonifying (near) real-time seismic and geomagnetic data, as well as data from communication systems. In the present exposition conceptual corollaries from my experience making, reflecting on, and exhibiting these works are diffracted through language in a project to expose the material propositions of these works themselves. Cross-modulation (feedback) loops established within this exposition connect artistic practice to philosophical-linguistic expression, providing both an explication and an exploratory continuation of my ongoing research practice.