Research Catalogue

Insubordinate Costume: Inspiring Performance presents a comprehensive study of historical and contemporary examples of scenographic costume – the type of costume that creates an almost complete stage environment by itself, simultaneously acting as costume, set and performance. This book provides readers with an overview of the costumes, designers, context and theory that have contributed to the emerging field of ‘costume as performance’. Focusing on artists and their creative approach to space, form, materials and movement, the book looks at iconic figures such as Loie Fuller, Oskar Schlemmer and Leigh Bowery, amongst contemporary examples of practitioners that are blurring disciplinary boundaries between fashion, dance, performance and theatre. The book includes chapters by Dr Sofia Pantouvaki, who focuses on performance costume as a means of research; Christina Lindgren, who presents the findings of the four-year Costume Agency project at Oslo National Academy of the Arts in Norway; Charlotte Østergaard, who discusses the implications of 'Listening with costume' and Felix Choong, writing on 'Contemporary Runways, Contemporary Costumes'. The final part of the volume, 'The Practitioners’ Voice', examines current practice through interviews and contributions from key practitioners.

The Tarot Walk Part of Elinor Rowlands' practice based research in autistic stimming as artistic methodology

This page is under construction It contains material created for and in the context of the research project Gifts from the Sentient Forest at the University of Lapland. See https://www.sentientforestproject.com

This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, performance, production, and technology. This interview features Rafiq Bhatia, American guitarist, composer, and producer, and member of the experimental trio Son Lux. Bhatia’s work dissolves the boundaries between jazz, electronic, and contemporary classical music, exploring sound as a sculptural and spatial material. His practice embodies a deep integration of composition, production, and performance—where the studio becomes an instrument, and the act of shaping sound is inseparable from the act of composing. In the conversation, Bhatia reflects on the interdependence between the roles of composer, performer, and producer, on the DAW as a generative and compositional environment, and on the emergence of sonic identity through timbre, space, and texture. He discusses collaboration within Son Lux, his process of scoring for film, and the relationship between abstraction and precision in communicating musical ideas to orchestras and ensembles. Bhatia’s reflections reveal an artistic vision in which technology and human expression coexist symbiotically: music as a living, evolving ecosystem of gestures, resonances, and spaces—an art of listening, translation, and transformation.

Masterprosjekt for Tiril Eirunn Einarsdotter våren 2025

A dice roll is the very image of randomness. Every day since September 1, 1994, I have rolled a set of six dice, written down the number combinations and collected the numerical material in an ever-growing physical archive. The project is entitled "one and one hundred dice rolls a day". I use this numerical material as a starting point for transformations by translating each number, 1 to 6, into one sign, shape, sound or word, and by creating rules for how these translations will be used further. This method shapes the concrete outcomes and results in series or other forms of progressions and connections. What unites the different sub-projects that stem from the dice roll project is an exploration of the inherent nature of this special material and its potential for form, expression, and visibility, as well as a fascination with the diversity and variations generated, and with results I cannot fully predict. In this exposition, I will describe, make visible, and reflect on the working method, process, and the development of the formal language and expressions that have emerged from this ongoing, and in many ways interconnected, artistic project. The project is seen from a place (that of me, the artist's perspective) and is developed from a point (the dice rolls with dots representing numbers).