Research Catalogue

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.

Sketchbook of 53 A3 drawings with coloured markers, including 4 A3 collages with newspaper cutouts and printed photos. Sketchbook cover with red nail polish. 22 A4 drawings with ballpoint pen. Preparatory work, 2023-2024.

Islington studio flat 4, at 14 Barnsbury Road, London, 2022. Interior design as an art installation. Looted, 2024. My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April 2024 from Woolwich. 14 Barnsbury Road was deemed illegal through the courts, shortly afterwards. The maintenance employed many Polish citizens, all dressed in black with black caps, like all XRW supporters dress. Twenty-one (21) digital photographs for twenty-one (21) missing Albanian non-EU immigrants. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine)

An artistic Postdoc project intended to create an environment for musical innovation, to explore the design of new physical and electronic instruments and to host the international NIME conference 2011. This interdisciplinary artistic research project was a collaboration between the composer Ivar Froundberg, Music Technologist Aleksander Refsum Jensenius and percussionist Kjell Tore Innervik. A project to enhance the possibilities of music performance for the many and for the few located at the Norwegian Academy of Music.

In this lecture I reflect on recent artistic work relating to perception, technology and bodily awareness. The lecture was part of the Digital Narratives Network Conference held at UiB in 2019. The Digital Narrative Network Conference and Exhibition was a cross-faculty initiative at UiB/KMD with a keynote by N. Katherine Hayles on literature and AI, a series of presentations by scholars, artists and authors, and an exhibition of digital narratives, including a sample of my "Twilight Apparatus" sculpture-series. In my sculpture-work I have taken eyesight and optical phenomena as a starting point for mechanical installations that engage the senses and serve as metaphorical depictions of the relationship between human and technical cognition. My presentation will track the development of recent projects and the role of imaginative awareness.

This research project explores South African Art Music through collaborative practice and the classical saxophone. It begins by investigating the discourse surrounding South African Art Music through testimony collected from various conversations with South African composers, musicians and academics such as Dr Kevin Volans, Dr Antoni Schonken, Professor Hendrik Hofmeyr, Dr Cara Stacey and Arthur Feder. I began collecting the scores of South African saxophone compositions which led to the development of an online catalogue system to document these works -The South African Saxophone Catalogue. This catalogue forms the base - as well as the network - for how this research was developed. To further investigate the South African repertoire, I embarked on creative journeys with four South African composers through performer-composer collaboration. I decided to use this means of investigation as the relationship formed between myself and these composers shows a different level of engagement with this music, first-hand experience in the creation of this music as well as creating an open space for discourse. These collaborations were documented through reflections, audio and video recordings and are investigated in the form of case studies. The final artistic product was a concert featuring these new compositions in Cape Town, South Africa. The data collected was organised through an amalgamation of critical reflection and thematic analysis. Through this collective music-making, I discovered the variety in thought surrounding South African Art Music and paradoxically those who vigorously deny this term. I discovered the complexity both politically and socially that the term South African Art Music implies. In conjunction with my personal reflections, this exposition explores the ideas, opinions and art of individuals in various fields in the South African classical music scene who represent a variety of South African cultural backgrounds and generations.