Research Catalogue

Jenny Sunesson (b. 1973) is a Swedish artist predominantly working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.

Abstract The incentive for this research was to explore ways of integrating the physicality of singing into vocal education by means of the Musicality of Movement (MoM) approach. Musicality of Movement is a physical performance training program designed for musicians. Traditionally the importance of the physicality of singing is recognized, yet it remains underexposed in vocal training, which eventually can lead to inhibited vocal freedom and wooden or awkward performances. The Musicality of Movement approach (MoM) opens ways to freer, more imaginative stage presence, better physical awareness and more expressive singing. The working hypothesis was: Integrating the Musicality of Movement approach into classical voice education will offer singers tools to enhance stage presence, imaginative expression, clarity of performative skills and can create ways to find physical and mental wellbeing on stage. The hypothesis was confirmed by the results of the three interventions—consisting of MoM lessons and workshops—that were executed during the academic year 2023-2024, with three groups of voice students, in three different settings. Interviews and questionnaires were analysed to give an impression of how working with the MoM approach supported performative skills and stage presence. Positive results were obtained from relatively small groups of students which shows a need for future research over a longer period and with a larger research population. Most mentioned keywords to indicate what the MoM-lessons brought the students were body awareness, better breathing, performance skills and playfulness. The practicality of the approach was shown by the fact that participants mentioned to use the exercises in their individual vocal practice.

A cross disciplinary artistic research project that departs from, and investigates several encounters and alignments between Contemporary Art and Archaeology. Its primary goal is to create a broad selection of autonomous and collaborative artistic, poetic and scientific expressions and responses to Prehistoric Art and its contemporary images. It will seek to stimulate a deeper understanding of contemporary and prehistoric artistic expression and the contemporary and prehistoric human condition. The participating artists and archaeologists will create autonomous projects, but also interact with each other in workshops, seminars and collaborative artistic projects. The secondary goal of Matter, Gesture and Soul is to establish an international cross disciplinary research network at the University of Bergen and strengthen the expertise in cross disciplinary artistic and scientific work with artistic research as the driving force. The project is financed by DIKU and UiB and supported by Global Challenges (UiB)

This exposition brings together the epistemologies of art-making and translation. It presents a series of artworks the curators commissioned for a travelling exhibition on ‘Experiential Translation’ (2022-2025). Many of the works were created under the auspices of the Experiential Translation Network, which facilitates collaboration and exchange between translators, writers, poets, artists and scholars from across the globe. The concept of ‘experiential translation’ as elaborated by Campbell and Vidal (2019, 2024, 2025), highlights embodied, multimodal communication as a performative inquiry into meaning-making. Blending art and translation practices, experiential translation values materiality, participation, and co-creation. Rather than mere transfer of meaning, translation is seen as a process of discovery, research, and knowledge production, embracing the unknown and exploring that which escapes language. Encouraging a rhizomatic viewing experience, the exposition is structured into three interconnected thematic 'rooms', Serial Metamorphosis, (Un)repetition and Ludic Translation, which can be visited in any order, or even simultaneously. The exposition includes video art, performance, (interactive) installation, sound art, poetry, painting and photography. This work was supported by the AHRC under Grant AH/V008234/1, awarded to Ricarda Vidal (PI) and Madeleine Campbell (Co-I) . Ethical Clearance Reference Number (King’s College London): MRA-22/23-34543

I explain "microtones" as the sounds between the piano keys, making it universally understandable. This widespread understanding through "piano keys" demonstrates how the 12-tone equal temperament (12-TET) has become standardized as the dominant system. When 12-TET was introduced, it created a hierarchy where diverse sounds were forced into a rigid system. Other sounds were marginalized and coded into one of the twelve tones, physically embedded in the piano's keyboard. As a result, pianists became subordinate to these physically embedded conditions of the piano. In this project, I attempted to dismantle this organizational principle. By deterritorializing these fixed tones and liberating the peripheral sounds now called "microtones," I explored not just the piano's timbral possibilities, but also the interactions that emerge in these spaces - between sounds, between people, between cultures... Through collaborations with over 30 composers, I discovered that microtones exist in the "ma" (space) between standardized tones, representing voices that don't fit into established systems. What began as an exploration of piano timbre evolved into an investigation of humanity itself, generating new meanings through ongoing dialogues and discoveries.

This article is emulating fictional informal notes that the author would have taken during his research. The handwritten annotations of Marinus de Jong (1891-1984), and his artistic and pedagogical legacy, have formed an interesting case study within the Flemish Archive for Annotated Music (FAAM) at the Royal Conservatoire of Antwerp. The “making of” the documentary Imaginary Conversation with Marinus de Jong, recorded together with pianist Anna Alvizou, is presented in a playfully manner.