Research Catalogue

How can dance and music, an art rich of history and a recent practice, the living body and digital immateriality communicate with each other? This project explores these questions through a live electronics performance in interaction with Odissi dance, one of the eight classical Indian dance forms. The performance combines fixed and improvised elements, fostering a dynamic interplay where music sometimes leads the dance and at other times responds to it. The work mirrors the traditional Odissi performance arc while reinterpreting it through a contemporary Western compositional lens. The sound material is created using SuperCollider, a code-based music synthesis platform. Algorithmic processes govern parameters such as duration, pitch, and amplitude, while real-time interventions are performed via a MIDI controller, enabling a fluid and reactive sonic environment. Several collaborative experiments inform the project’s development. Conducted both remotely and in-person, they involved exchanging musical sketches and choreographic responses, fostering a conceptual understanding of each other's creative processes, and enabled immediate feedback and improvisatory interaction, revealing how abstract sound gestures are interpreted by the dancer as vivid metaphors of natural phenomena through the expressive language of mudra. This project embraces the idea that meaning in performance does not pre-exist but rather emerges through the interweaving of gesture, sound, attention, and relational space. Rather than seeking fixed correspondences between music and dance, the collaboration foregrounds the instability and fluidity of sense-making as a shared experiential process. Movement and sound co-construct each other in the moment, guided by intuition, somatic listening, and a continuous negotiation of presence. In this light, the work becomes less about illustrating pre-defined narratives and more about cultivating a living texture of interaction—an evolving field where different temporalities, traditions, and sensitivities resonate and transform one another. Informed by Andrée Grau’s insights in Intercultural Research in the Performing Arts (1992), this project also approaches collaboration not as a neutral meeting ground but as a space charged with cultural histories and asymmetries of knowledge. Grau urges us to move beyond celebratory notions of “fusion” and to critically examine how traditions are represented, adapted, and negotiated in performance. In this light, the work does not seek to erase difference but to hold it in tension, encouraging a space where both artists remain grounded in their respective practices while allowing mutual transformation to occur. Rather than simplifying or assimilating Odissi into a Western framework, the collaboration is framed as an encounter—sometimes smooth, sometimes resistant—that reflects the complex, evolving nature of intercultural exchange. Here, meaning is not given but co-constructed through attention, respect, and a willingness to remain in the discomfort of not fully understanding. Bibliography Grau, A. (1992). Intercultural research in the performing arts: A critical review. Edinburgh University Press. Jayadeva. Gītagovinda. Tr. Giuliano Boccali (1982). Adelphi. Cassio, F. (2000). Percorsi della voce. Storia e tecniche esecutive del canto dhrupad nella musica classica dell'India del nord. Ut Orpheus Edizioni. Frödin, K. Unander-Scharin, Å. (2024). FRAGMENTE2. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=2045845 Frisk, H. (2025). Sound intuition. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=3025541 Giordano, S. The emerging sense. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=1220694

This video essay explores the sacred landscapes of Delphi and Delos, studying their historical significance as a centres of female knowledge, through embodied, intuitive, and affective engagement. Thinking about Ada Lovelace’s notion of poetical science, the site visits seek to trace the contextual and geographical roots of this concept. The film approaches knowledge as a sensuous, relational and embodied process, one that resists dominant rationalist and technocentric paradigms. The voiceover, recorded in Greece, threads reflections from Hélène Cixous’s The Laugh of the Medusa (1976), Karen Barad’s Diffracting Diffraction (2014), and Sasha Biro’s The Oracle as Intermediary (2022) from Otherwise Than Binary, New Feminist Readings in Ancient Philosophy and Culture Decker, J.E., Layne, D.A. and Vilhauer, M. (2022). Through these situated readings, the film proposes curating research and thinking through place as not merely interpretive but performative: an intra-active practice between self, site, and matter. The work explores myth and reverie, positioning the body in context as instrument. It proposes an expanded curatorial methodology rooted in presence, sensual attention, and poetic science - where intuition is included, and the landscape is approached as co-creator.

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This thesis explores how late-diagnosed autistic individuals and their close circle can redesign their relationship after their diagnosis through communication that aligns with autistic ways of being. Grounded in the neurodiversity paradigm, the social model of disability, and the double empathy problem, the research combines interviews, co-creation sessions, and visual storytelling to uncover emotional and relational dynamics during post-diagnosis identity shifts. Through a neurodivergent lens—rooted in sensory awareness, pattern recognition, and visual thinking—this work challenges deficit-based narratives and proposes a compassionate, co-created communication framework. The goal is not assimilation but mutual understanding: enabling autistic individuals to embrace their authentic selves while guiding loved ones to meet them with compassion and openness. Ultimately, the project reimagines design as a tool for creating connection, not correction—honouring difference, restoring balance, and building inclusive systems where all ways of being are valid, visible, and valued.

This exposition investigates the potential of a/r/tography as a methodological framework within an artistic context characterized by improvisation in movement, dance, and theatre. Through a small-scale exploratory study, theory, practice, and reflection are integrated to examine how knowledge and understanding are generated within and through improvised artistic processes. The exposition includes documentation of practical components, reflective writings, and theoretical perspectives, and illustrates how a/r/tography can operate as a dynamic and responsive research methodology within the field of performative arts. This exposition is part of the peer-reviewed article: Østern, T. P., Reppen, C., O’Connell, S., & Daneberg, M. (2025). Choreographer/researcher/teacher - developing a/r/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2).

This visual essay explores images generated through AI-based expansion of a simple photographic composition. Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there. The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.