Research Catalogue

Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

The Art of Preluding was once common practice but more or less disappeared during the last century. In recent years, there has been renewed interest in reviving this artform. The content found on the website is the result of years of research in the artistic and pedagogical field, and an academic research project at the Royal Conservatoire Antwerp in Belgium. It relies on historical didactic instructions to make preluding at the piano accessible and up-to-date again, and promotes the development of a contemporary approach.

This exposition proposes “artistic ecosystems” as a speculative framework for understanding creative processes shaped by interspecies collaboration and posthuman thought. The entry explores how art involving non-human agencies challenges anthropocentric norms and redefines authorship, participation, and temporality. Through a personal selection of immersive, site-specific, and ecological works by artists such as Westendorp, Eliasson, Huyghe, and Denes, the author outlines the beginnings of a doctoral research trajectory. These projects exemplify sympoietic, open-ended modes of creation, positioning performance and art-making as a fragile, relational ecosystem of human and more-than-human entanglements.

The project Mediation as Discipline is an attempt to build bridges between disciplines and make the experience-based knowledge that the contemporary art field can offer relevant to a broader academic community. At the same time, it is an investigation of needs within the field itself, which should be served by a university that prides itself on having an artistic faculty. This report, carrying the same name as the project, is based on a comprehensive survey among contemporary art mediators conducted in 2024 by the project group, and it examines the foundation for specialised education for mediators of contemporary art in Norway.

The collaborative process that has fostered the texts in this anthology started with two questions: What does it mean to be a curator who writes, and, more specifically, how can curators write about textiles? Curatorial practices vary just as much as do curators’ interest in and capacity for writing. At the same time, there are prevailing opinions about, and institutional demands on, what kinds of texts curators should provide for audiences, for instance as contributions to art discourses in the form of catalogue essays and the like. The Community of Writers was set up to create time and space to retreat from these outside opinions and demands and to let curiosity and the joy of writing be the driving forces of the writing process. I have had the pleasure of leading this process and am indebted to the individuals who formed the Community of Writers for newfound insights into textile art and the role of textiles in society. The writing process challenged the contributors’ own writing practices, sparked their enthusiasm, playfulness and criticality pushed the project further. Our conversations have deepened and become more entangled over time, and the reader can find traces of this in the texts in this volume.

This exposition traces the development of a reflective arts and health practice during 2025. It brings together short written episodes, visual documentation, audio notes, and process materials to examine how artists make sense of the emotional, relational, and practical demands of working in care-based and community settings. The work sits alongside a written PDF and expands on it by presenting the reflections in a non-linear, multimodal format suited to artistic research.