Research Catalogue

Prodigal Misfortunes fuses digital drawing with eerie storytelling to create a captivating realm where the boundaries between the visual and narrative blur, inviting audiences into a unique experience. This synthesis leverages the strengths of both mediums, with the algorithmic medium providing a limitless canvas for visual exploration and the eerie narratives weaving complex, thought-provoking tales that engage the imagination and evoke deep emotional responses. Algorithmic drawing, with its capacity for intricate detail and surreal environments, sets the stage for stories that push beyond the ordinary, crafting scenes that are as haunting as they are beautiful. The eerie storytelling, in turn, infuses the artwork with a narrative depth that transforms each piece into a window into otherworldly tales, filled with mystery and the uncanny. But algorithms are not neutral entities and its socio-political effects result from the will of real individuals behind them who use them as an apparatus for social control. Thus, we endeavor to maintain an explicit distance between artist and computer, in the context of the emerging AI/LLM technologies that threaten to reverse the mind-over-matter stance of classic dualism. The use of mathematical chance through algorithmic processes to create drawings, aims to break free from technological functionalism. Mathematical randomness serves as a tool to explore the artist's inner self. Despite their digital nature, these drawings are firmly rooted in the tradition of drawing: they serve as a medium for expressing the artist's thoughts, embody the process of transferring these ideas onto a canvas over time, and highlight the artist's presence. Through a created software tool the software that produces the drawing stands as an artwork on par with the produced images, although remaining invisible. Thousands of lines of code have been written, although they remain in obscurity as an inherent aspect of its personal nature.

A work-in-progress artistic research project. Initiated by Hanns Holger Rutz and Nayarí Castillo in autumn 2021, it develops into multiple intermedia objects that involve collaboration between different artists, objects that engage in sensorial exchange among themselves and with humans. This exposition is very much in flux, trying to capture the meanderings of the process.

Den gudomliga läckan - tractatus papyrus är en slags operaföreställning som ingick i projektet Paper Music som genomfördes i november 2022 i Mölndal.

Table of contents JSS issues

In this article we propose the concept of "sonic citizenship" as a framework for the multitude of ways in which we, in the rhythms of our everyday lives, form the aural background of each other, and how citizenship is practiced, negotiated, and maintained through everyday sonic activities. With examples of messy, fragile, and difficult interactions with sound from the time of the COVID-19 pandemic, we argue that the effort of tuning the soundscapes of the world needs to be complemented by an attuning approach that focuses on the negotiations we are constantly involved with in our everyday lives. The soundscape approach in the tradition of R. Murray Schafer implies that the soundscape is there as a landscape that we can uncover and tune. Conversely, the attuning approach of sonic citizenship understands soundscapes as relationships and dynamic configurations to which we must continuously attune, and which are themselves reconfigured via breaks in habitual attunements.

This paper introduces the method of intuition as it is presented by French philosopher Henri Bergson in the book An Introduction to Metaphysics (Bergson 1912). Its usefulness as a tool to observe relevant information in artistic practice in sound is further discussed in relation to a series of works by the author. Exploring this complex field the author makes a preliminary conclusion that sound is not a thing, and it is not limited to what we listen to. It is a system of interrelated threads, the meaning of which is much larger than the actual sound itself.