Research Catalogue

Improvised ambient music making is a multi-dimensional process where the musical and the artistical skills are implemented into a dance between the mind of the performer and the creative use of technology. Both the mind and the machine together create a symbiotic relationship which over a course of a longer improvisational process produces a calming effect on the body and the mind, a sensation which in this artistic research is referred to as ”the slow buzz”. Over an 18-month period from June 2023 to December 2024 I practiced the creation of improvised ambient music by keeping a routine which included mechanical guitar warm ups, a meditation session and a recording session for an improvised ambient music track. This routine laid a solid foundation for my artistic work, generating all in all 360 improvised ambient tracks, which were all listened and analysed along the way. All the know-how and the musical style that emerged from this routine eventually led to the creation of a continuous, flowing form of improvisational live-ambient music. I then rehearsed, filmed, and analysed the resulting ambient music 40 times during the autumn of 2024 in order to gain insight into the mindstates that are affiliated with the creation of improvised ambient music. The final outcome of this artistic research process was then to be presented in the form of a solo concert during the Global Spring Festival, on the 15th of May 2025.

What senses arise from sensing? How does sensing affect the processes of sense-making? How can the density of senses be navigated through writing? This exposition retraces a specific sequence of thinking-in-the-making designed to address such questions in a collective workshop setting, where writing and sensing alternate in an iterative process.

This research is an advanced research of Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective in 2024. I explore post feminist theory from a new perspective in the 21st century. Thereby I deal with spatiality between virtual reality and physical space theoretically and practically. Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.

24.11.2024 og 04.01.2024 Deler av samtale under samarbeid om å lage kopper på verkstedet til Anne Line Sund på Nesodden.

Denne plastposen fra Hana & Holmens potterier med bittelitt blåleire i, fikk jeg av keramikeren Marit Tingleff1 under et besøk hos henne på Hønefoss høsten 2022. Hana & Holmens Potterier var basert i Sandnes der de hadde pottemakeri, men også utvant, prosesserte og solgte blåleire til skoler og keramikere fra før andre verdenskrig til 2012.

Sosial keramikk er kopper, beholdere og tallerkener som er laget av blåleire og brunleire fra leirelandskaper jeg har jobbet i som en del av prosjektet Jording med (blå)leire.