Research Catalogue

This artistic research investigates what kind of music arises from multiple musical identities. The answer is the album III, a collaborative work with guitarist Juhani Silvola, supported by a research exposition that documents and reflects upon the creative process, and an extensive timeline showing it as it unfolded. The main argumentation within the work revolves around the importance of distinguishing between musical identities (plural) and personality (singular). The rationale behind this is to generate productive creative friction – to use the knowledge of multiplicity as a tool – to identify and push against boundaries and have knowledge from one identity inform, and expand, another. Identities are multiple, situational, and enacted through doings: (in my case) the drummer, the singer, the producer, the programmer, et al. They coexist, each with its own expectations, vocabulary, and criteria for success. Personality, by contrast, is shown as the continuous thread – the container in which all identities meet and negotiate, providing coherence without dissolving difference. The research unfolds across three phases: SStartup, Deconstruction, and Assemblage. Methods include archival listening (revisiting accumulated recordings as material to draw from, either through self-gratification or analysis), physical and material constraints, custom software tools, and playing my instruments. In some cases, peripheral projects became ‘methodological sites’, allowing for focused and longer-term exploration and research. Spirit of Rain, Be Like Water, and a duo with Hans Martin Austestad, all function as experiments where methods combine and generate knowledge. A central concern is the role of machines in creative practice. Noting, but not necessarily drawing on, philosopher John Searle's (1980) Chinese Room Argument and the concept of procedural agency, this work follows a line of thought in which machines may exhibit tendencies, but not personality. What emerges from human-machine collaboration is shaped by this asymmetry. The exposition, built using HTML and hosted in the Research Catalogue framework, is not a linear argument entirely, but rather a pathway through sounds, texts, videos, and fragments – organized semi-chronologically and tagged by function. It demonstrates that answering a question about musical identity requires both artistic result and theoretically aligned reflection.

In the Mirror of Care Work researches skills within Nordic interactive performance practices. Using the mirror as a metaphor for visualisation and connection, artist Inga Gerner Nielsen brings into conversation the work of nurses and interactive performers. By inviting in the perspectives of care workers and looking into the history of their profession, Inga engages in discussions about the politics, mythologies and poetics of her own field. What do we see when we look in the mirror, and when that mirror is a nurse? Do we, as performers – like the nurses were once said to – abide by the feeling of a calling? Does this involve a kind of spiritual care for our audience? And what of the nurses’ working conditions should we perhaps try to adopt as (care giving) performers? The project visited Stockholm (MDT) in September 2023 and Helsinki in January 2024 in a two-day symposium to meet and exchange with local artists about the aspect of care work in their artistic practice . The project is based in a long-term collaboration with the nursing school at UCN Hjørring & Thisted in the north of Denmark. Together with teacher of the History of Nursing, Helle Kronborg Krogsgaard, Inga gerner Nielsen is developing ways of integrating interative performance excersices and visual art into the teaching of 1.st, 4th and 7th semester nursing students.

Research Portal of Janacek Academy of Performing Arts in Brno

Title: Solidifying the Ephemeral: The Alchemy of the Liquid Canvas Artist-Researcher: Giuseppe Rametta Giusirames 1. Professional Biography Giuseppe Rametta Giusirames is an Italian artist and material researcher whose practice lies at the intersection of contemporary art and chemical experimentation. Rejecting standardized industrial media, he develops proprietary material mixes, treating the creation of the "base" as an integral part of the creative act. His most significant breakthrough is a specialized technique designed to "solidify the sea," transforming the fluid and ephemeral nature of marine environments into a permanent, solid canvas. Through his work, he explores themes of environmental memory, the alchemy of matter, and the tension between natural flux and artistic preservation. His studio is a continuous laboratory where traditional aesthetic values meet innovative material engineering. 2. Research Statement This research focuses on the chemical and poetic transformation of natural and volatile elements. The core of the project is the stabilization of fluid environments through a unique technical process. Material Hybridization: Sea, Smoke, and Antisepsis My investigation extends beyond seawater to the stabilization of other volatile and antiseptic substances: * Seawater: Capturing the essence of the ocean to create a structural canvas. * Amuchina (Chlorine-based solutions): Integrating antiseptic elements to explore the tension between hygiene, sterilization, and nature. * Smoke: Attempting to fix the weightlessness of air and fire into a solid surface. By inventing these material compounds, I investigate how artistic practice can "fix" a moment of environmental flux without losing its vital energy. 3. The Poetics of Painting on the Sea For me, painting is not a gesture performed on a surface, but a dialogue with an element. To "paint on the sea" means to accept the fluid’s rebellion before fixing it into eternity. It is a poetic act of translation: capturing the rhythm of waves, the transparency of the water, and the ghost-like presence of smoke within the physical constraints of a canvas. This practice transforms the artwork into a relic of a moment that was, by nature, impossible to grasp. 4. Visual Documentation Per le tre foto che mi hai inviato, usa queste descrizioni: * Figure 1 - Organic Textures: A demonstration of how the proprietary mix creates an organic "skin," allowing pigments to settle in a cellular structure. * Figure 2 - Marine Diffusion: The interaction between color and the solidified sea base, mimicking the natural movement of underwater currents. * Figure 3 - The Molecular Membrane: A macro view of the stabilized material. This transparent, alveolate structure proves the successful transition from liquid/volatile states to a solid artistic medium.

Title: Solidifying the Ephemeral: The Alchemy of the Liquid Canvas Artist-Researcher: Giuseppe Rametta Giusirames 1. Professional Biography Giuseppe Rametta Giusirames is an Italian artist and material researcher whose practice lies at the intersection of contemporary art and chemical experimentation. Rejecting standardized industrial media, he develops proprietary material mixes, treating the creation of the "base" as an integral part of the creative act. His most significant breakthrough is a specialized technique designed to "solidify the sea," transforming the fluid and ephemeral nature of marine environments into a permanent, solid canvas. Through his work, he explores themes of environmental memory, the alchemy of matter, and the tension between natural flux and artistic preservation. His studio is a continuous laboratory where traditional aesthetic values meet innovative material engineering. 2. Research Statement This research focuses on the chemical and poetic transformation of natural and volatile elements. The core of the project is the stabilization of fluid environments through a unique technical process. Material Hybridization: Sea, Smoke, and Antisepsis My investigation extends beyond seawater to the stabilization of other volatile and antiseptic substances: * Seawater: Capturing the essence of the ocean to create a structural canvas. * Amuchina (Chlorine-based solutions): Integrating antiseptic elements to explore the tension between hygiene, sterilization, and nature. * Smoke: Attempting to fix the weightlessness of air and fire into a solid surface. By inventing these material compounds, I investigate how artistic practice can "fix" a moment of environmental flux without losing its vital energy. 3. The Poetics of Painting on the Sea For me, painting is not a gesture performed on a surface, but a dialogue with an element. To "paint on the sea" means to accept the fluid’s rebellion before fixing it into eternity. It is a poetic act of translation: capturing the rhythm of waves, the transparency of the water, and the ghost-like presence of smoke within the physical constraints of a canvas. This practice transforms the artwork into a relic of a moment that was, by nature, impossible to grasp. 4. Visual Documentation Per le tre foto che mi hai inviato, usa queste descrizioni: * Figure 1 - Organic Textures: A demonstration of how the proprietary mix creates an organic "skin," allowing pigments to settle in a cellular structure. * Figure 2 - Marine Diffusion: The interaction between color and the solidified sea base, mimicking the natural movement of underwater currents. * Figure 3 - The Molecular Membrane: A macro view of the stabilized material. This transparent, alveolate structure proves the successful transition from liquid/volatile states to a solid artistic medium.

This exposition is an archival gesture emerging from the Dramaturgical Ecologies research-creation collective. Rooted in the entwined inquiries of Blacknesses and Dramaturgy, it gathers the dialogues, encounters and an artistic residency that unfolded through the SSHRC-funded Murmurations project. Between the viscous resonance of okra and the shifting flight of murmuring birds, this exposition shares choreokratic ecologies - a garden of study where movement, thought, and relation co-compose. Here, Blackness becomes a method, a lens, a refrain, challenging the neutrality of the performer-dancer body and inviting modes of collective creation that are relational, porous, and opaque. Murmurations attends to what forms in the formless - like a swarm of birds: a living archive of bodies, voices, and ecologies composing a landscape.