Research Catalogue

This conference will explore how emerging technologies—especially generative AI and blockchain—reimagine the current notions of creative agency. Conveners: Adam Łukawski, Martin Zeilinger Artificial intelligence (AI), with its learning algorithms operating at scale, can mimic human creative agency, and blockchain technologies, through smart contracts, can augment works of art with more or less autonomous behaviours that correspond to the agency of human participants in socio-economic interactions. While such developments can destabilise traditional notions of ownership, provenance, and agency in musical practices, they can also empower artists. Those working creatively with sound and music are today increasingly becoming system-builders and curators of musical ecosystems, turning their focus from the creation of singular, standalone musical works (in any traditional sense of the term) to the design of systems capable of generating artworks. This suggests an evolving role of music-producing systems today: from fixed intellectual constructs and creative expressions to dynamic, more-than-human technological networks that not only actively participate in the production of artworks with increasing levels of agency, but which can themselves be considered as artworks that constitute generative, expressive assemblages. This shift is further emphasised in distributed contexts, where varying levels of automation blur the boundaries between human and non-human contributions, creating environments where agency is negotiated and shared across diverse actants.

This exposition is a documentary project on the artistic research project Neither Fish nor Fowl. The research project consists of theater making, film making, workshops, performances and writing, and explores the wondrous worlds of becoming in theatre for early years. Together with my theater company Teater Fot, I have been investigating the significance of affect as philosophical, emotional, and material inspiration in the creative process, and in relation to young children in Theater for Early Years. Neither Fish nor Fowl was conducted as a performance project from April 2017 to March 2020. During this period, the research process was documented in RC, presenting methods, writings, and reflections along the way. The pre-production performance (for babies 0-2) was shown at the festival Olavsfestdagene in Trondheim, Norway, summer 2017 and at Trondheim Kunsthall autumn 2017. The full production, Begynnelser (for 3-5 years), was presented in april 2018 in co-production with the venue Teaterhuset Avant Garden in Trondheim. Baby Becomings (0-2 years), was presented at festivals and for kindergartens in Trondheim autumn 2018, and the final version Himmel & Hav / Sky & Sea was presented at Rosendal Teater in in March 2020, touring kindergartens for one week. Animalium (2019) was a a kind of spin-off with film making, workshops, visiting exhibition spaces and eventually article writing with an exposition in VIS - Nordic Journal for Artistic Research #2 on the theme Estrangement. In 2020-22 Animalium has become a new research project, looking at post humanist approaches to different sites such as kindergarten spaces, libraries and art exhibition spaces. We are developing new performance strategies with deepening our improvisational and listening skills into a more-than-human sympoietic intra-playfulness. Trying to perform these concepts, we might understand more of what they actually mean to our artistic practice.

Olskroksmotet Blues är den avslutande delen i mitt autoetnografiska projekt som i olika former pågick mellan 2014-2021, och där jag bland annat publicerat två artiklar (Kroon 2015 och 2016). RC expositionen består av tre delarbeten - arkivblad, arkivmönster och göteborg grid – jämte bakgrund och teori & metod. Utifrån min historia som fosterbarn söker jag fånga såväl mina egna erfarenheter och uttryck, som att sätta dessa i ljuset av större samhälleliga skeenden. Olskroksmotet Blues var också del av Mikrohistoriers fysiska grupputställning på Konstfack, Stockholm i september 2021.

Camlot RC for PP

RC welcome audio file

An RC adaptation of the project as presented at the Hugarflug conference, Reykjavik 2025. The presentation takes its point of departure in a photographic artistic research project that moves within the queer borderlands between drag and wrestling – two performative expressions that, through eccentric personas, embodied gestures, and DIY culture, destabilise notions of sex, gender, and sexuality. I approach these practices as arenas of performativity, where the hypermasculine and the hyperfeminine are not positioned in opposition, but meet in mutual tension and unstable, embodied renegotiation. Through photography, in reciprocal movement with essayistic writing, I explore images of identity in motion. The presentation is part of a diffractive methodology, where photographs neither illustrate nor represent, but emerge as entangled with fiction, memory, theory, and philosophy as components of a broader research apparatus. An unstable interplay emerges, where photography and language generate tacit knowledge – a possible, partial and situated enactment of how identity and the body are (re)presented and displaced. The project is diffractively grounded in the thinking of Barad, Butler, and Haraway on research apparatuses, performativity, and situated knowledge – with particular attention to the camera’s and photographer’s access to spaces where identity is performatively negotiated.