Research Catalogue

Imagine words approaching a dance eyes closed or sleepwalking, words adrift beyond what can be envisioned beforehand, prompting writer and reader alike into a zone where time multiplies, where bodies grow footnotes and paper skin, savour the taste of language, attune their ears to the wavelength of blue. In a string of brief essays on her practice of writing choreographic poetry and scores, Janne-Camilla Lyster offers reflections on time, memory and the senses, on translation, punctuation and rhythm, on crevasses and mistakes, on the impossible and yet other things. What does it take to slip into another form of existence, say, a chair? Contextual note: These essays were first published as part of the book Choreographic Poetry (2019), a collection of literary scores for dance. They were written in the framework of my PhD in artistic research at the Oslo National Academy of the Arts, Choreographic Poetry: Creating literary scores for dance. Thanks to the dancers and musicians who contributed to the process of developing the PhD project. To Chrysa Parkinson, Anne Gry Haugland and Bojana Cvejić for their valuable contributions during the process of writing these essays. And to Jeroen Peeters and Mette Edvardsen for further editorial dialogue. Janne-Camilla Lyster is a writer, dancer and choreographer. She has published poetry, novels, essays and plays. www.jannecamillalyster.no Varamo Press embraces the unexpected and values the arbitrary circumstances in which writing comes into being. Snatching, wording, printing, it gives a paper form to various kinds of literature that have a fleeting life elsewhere. Gestures is a series of essays. www.varamopress.org

Performance philosophy is still something of a ‘wild frontier’ where fundamental questions can be re-posed concerning the nature of wisdom and love, life and truth. For if love and wisdom are not co-extensive with verbal communication, then philosophy may be legitimately pursued by performative means. In this session the participants aim is to enact and unfold a set of trajectories rather than describe or 'define' their work in words alone. Passion and grief are disruptive currencies. Passion and grief not only seem un-necessary for biological life, they frequently threaten it. Yet a life lived without them would seem impoverished. Whether one views these turbulent affects as parasites, invaders, or as the engines of higher culture, they inhabit philosophy as an ineradicable black-market haunts all states and empires. We aim to consider this under-zone on its own terms, weaving theory with demonstrations of transferable techniques for cross-disciplinary research.

This is the shape that my temporary virtual studio had during NPP –New Performative Practice MA SKH Uniarts, Stockholm–.

In my artistic research project, I embarked on an exploration of the continuum between the roles of a music producer as both facilitator and initiator. Through in-depth engagement with real-world scenarios in professional music production, I examined the dynamics and nuances of how these roles negotiate, intersect, and shape the final artistic outcomes. This investigation not only unveils the intricate processes that underpin music creation but also highlights the implications these negotiations have on the resulting works of art. The findings shed light on the subtle artistry embedded in production decisions and offer a fresh perspective on the evolving landscape of music production.

Interactive environment based on Kinect Azure sensor where the participant draws shapes of his body. When the time passes, the frozen still images of their movemnt go higer.

Interactive environment based on Kinect Azure sensor where the participant draws shapes of his body. When the time passes, the frozen still images of their movemnt go higer.