Research Catalogue

Can an acoustic grand piano be sonically and conceptually reimagined so as to re-negotiate its foundational assumptions around tuning and timbre? Why should the piano continue to be so accustomed to only one tuning system? In contrast, how can “pure sounds” (ratios found in the harmonic series) co-exist with ethnically diverse microtonal tunings? “Unburying, from Liminals, Emerging” explores a microtonal prepared piano in three artistic contexts. These include: a solo project called “Postcards of Nostalgia; a chamber ensemble consisting of saxophone trio, percussion and piano; and a “percussion ensemble with soprano saxophone called Juniper Fuse. Dialoging with a newly invented tuning system, what emergent properties might we find when magnetic piano preparations are used to evoke specific timbral effects from Balinese Gamelan and Indian Karnatik music? Collectively, how can this expanded notion of “piano” merge with spatialization to facilitate interactive experiences for audiences? How might a process-oriented Jungian-inspired dream work communicate itself so as to distill and coalesce a fertile musical landscape?

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.

Initiated in 2020, Dorsal Practices is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orient to self, others, world. How does the cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? A dorsal orientation foregrounds an active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a back-leaning orientation support a more open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?

I doktorgradsprosjektet Jording med (blå)leire har jeg jobba med kunstneriske prosesser og øvelser som knytter oss tettere på blåleira i landskapet. Gjennom seks års utdannelse innenfor det keramiske kunstfeltet og kunsthåndverk2 ble vi aldri introdusert for leire ute i naturen som en del av undervisningen. Vi lærte å lage forskjellige leirer ved hjelp av råstoffer som kaolin, kvarts, pipeleire og chamotte fra innkjøpt pulver i sekker blandet med vann, men var aldri ute og gravde leire og prosesserte denne selv. Vi jobbet med importerte leirer der sintringsintervall, grovhetsgrad, farge etter brenning og krymp-prosent var printet på plastpakningen. Leirene var homogene og klare til å modellere med, og man kunne stole på at den alltid var lik fra pakke til pakke. Keramikk- og kunstfeltets gjengse oppfattelse av leire som et stabilt universelt materiale, som er relativt lik uansett hvor man kjøper den fra, blir i dette prosjektet satt i kontrast til det spesifikke og skiftende i landskapet, leira og menneskene involvert. Denne situerte kunnskapsproduksjonen i det kunstneriske doktorgradsprosjektet er et av de potensielle bidragene til fagfeltet.

Brent blåleire fra Feiring bruk avdeling Kulmoen, opprinnelig fra Alnabru, blandet med sagflis fra KHiOs treverksted, chamotte og breavsetningssand. Del av relieff til kunst i offentlig rom oppdrag, som feilbrente. Her kuttet igjennom med diamantsag på KHiOs keramikkversted.

Landaktig poesi/Poetics of landness/Tiémpo de las tierras er en pågående samarbeids- og utvekslingsplattform mellom Stacy Jo Scott (OR, USA), Arely Amaut (Cusco, Peru) og Sigrid Espelien (Oslo, Norge).