Research Catalogue

A performance “Corpo Híbrido. Ato de vestir e despir o efémero” (2025), procura refletir sobre conexões simbioticas entre seres. Com o vestir-se de germinados, veste-se o efémero, e o corpo funde-se com o elemento vegetal, uma transformação num ser híbrido, habitante da fronteira entre dois mundos. O corpo transforma-se em paisagem, enquanto a paisagem o acolhe.

This research introduces Psychoformism, an innovative artistic style synthesizing form, emotion, and subconscious energy into a unified aesthetic expression. Positioned within the broader discourse of art history, Psychoformism proposes a fluid, dynamic visual language that transcends traditional bodily representation. The style aims to shift the viewer's role from passive observer to active participant by visually embodying internal emotional states as forms that emerge from subconscious energies. Psychoformism thus provides a conceptual and practical framework for exploring deeper psychological engagement and subjective perception within aesthetic experiences. As proposed by the author, “Form is emotion itself; emotion emerges from within the body and transforms directly into visual form.” (A. Babak, 2025)

This thesis investigates how narrative agency can emerge collaboratively between human, technological, and more-than-human agents within artistic re- search. In response to the limitations of anthropocentric storytelling, it poses the central question: How does narrative agency emerge in co-creative processes involving human, technological, and more-than-human forces? The research adopts an experimental, site-specific methodology grounded in transduction-the translation of one form of data or energy into another-to enga- ge with the expressive capacities of more-than-human entities. Three iterations form the core of the investigation: a photogrammetric and sonic exploration of De Nieuwe Passage (The Hague), a real-time collaboration with storm Conall in a city forest, and a durational transduction of Tokyo's soundscape into photo- graphic form. In each case, technologies such as cameras, code, and sensors are treated not as neutral tools, but as hybrid agents participating in narrative formation. The results demonstrate that narrative meaning can emerge through intra-active, multisensory processes rather than through fixed representation. Each experi- ment reveals how environmental and technological agents shape the unfolding of story, whether through the rhythm of human flows, the shifting forces of weather, or the temporal layers of urban sound. This thesis concludes that artistic research can facilitate non-anthropocentric storytelling by creating conditions for narrative to arise through entangled rela- tions. It recommends a methodological shift toward collaborative, sensory-ba- sed practices that decenter the human artist and embrace the co-authorship of technological and environmental systems.

This essay examines drawing as a consciously guided practice for fostering creative problem‐solving and idea generation. At its center lies the Sketch&Draw method, with its core principle of the “fluttering line.” Drawing on Stephen R. Covey’s (1989) concept of the space between stimulus and response, Mihály Csikszentmihályi’s (1990) flow theory, and Maurice Merleau‐Ponty’s (1945) notion of embodiment, it develops—via the Sketch&Draw method—the central principle of the “fluttering line.” Through workshop analyses and practice sketches from sketchanddraw.com, it is evident how the visual noise of the fluttering line opens a mental space in which spontaneous impulses and effortless presence both set the creative process in motion and give it structure. Participant reports illustrate how these uncontrolled networks of strokes are later experienced as “whispered impulses” that support the flow state. Finally, the essay discusses potentials, fields of application, and methodological limits in artistic, technical, and academic contexts, and outlines proposals for further empirical and interdisciplinary research.

This research explores the influence of bel canto, a distinguished Italian vocal style, on 19th-century guitar compositions, with a particular focus on the works of Luigi Legnani. Through detailed analysis, the study identifies key bel canto characteristics, such as expressive phrasing, melodic ornamentation, and dynamic contrasts, as integral elements in Legnani's guitar music. These findings highlight Legnani's skill in adapting the vocal nuances of bel canto to instrumental performance, creating a bridge between vocal and instrumental traditions. The research enhances the understanding of cross-genre influences in 19th-century music and showcases the artistic versatility of composers like Legnani. To present these findings, the format will include recorded video demonstrations, where specific characteristics of bel canto will be illustrated through selected musical excerpts. These videos will provide a visual and auditory exploration of Legnani’s compositions, allowing audiences to observe the practical application of the research insights. The combination of spoken analysis and video demonstrations offers an engaging and comprehensive understanding of the influence of bel canto on Legnani's works, enriching the overall appreciation of this unique musical intersection.

(English below) Eiras kiosk er ein serie med mindre konsertar, lydinstallasjonar og hendingar som blir annonsert kort tid i forvegen og dukkar opp på stadig ulike stader. Kioskserien er utvikla av Eira Bjørnstad Foss og utgjør ein viktig del av det pågåande kunstnarlege forskingsprosjektet "Performer-Curator" ved NTNU, Institutt for musikk. Eiras kiosk: Skattejakt-edition blei spesiallaga til NTNU Artistic Research Week 2024. Saman med publikum utforska kiosken ulike krinkelkrokar i kulturhuset Olavshallen. Skattejakta tok utgangspunkt i, og er nesten ei realisering av, verket "Ear Piece" av den amerikanske komponisten og utøvaren Pauline Oliveros. Eira’s Kiosk is a series of small concerts, sound installations, and events that are announced shortly before they happen, and pop up in various locations. The kiosk series is developed by Eira Bjørnstad Foss, and forms an important part of the ongoing artistic research project, "Performer-Curator," at NTNU, Department of Music. Eira’s Kiosk: Treasure Hunt Edition was specially created for NTNU Artistic Research Week 2024. Together with the audience, the kiosk explored possibilities for experiences in various nooks and crannies of the cultural venue Olavshallen. The Treasure Hunt was based on, and is almost a realization of, the piece "Ear Piece" by the American composer and performer Pauline Oliveros.