Research Catalogue

We left Eden Performed by Marius Igland Group Musicians: Sebastian Grüchot Violin Trygve Rypestøl Sax Bjørn Rønnekleiv Clarinets Marius Igland Guitar Espen Grundetjern Bass Trygve Tambs-Lyche Drums Production Camera Andi Gyberg Lights design Andi Gyberg Sound Engineer Espen Grundetjern Consultant Espen Grundetjern Producer Marius Igland Editor Marius Igland Mix/master Marius Igland Music All compositions and arrangements by Marius Igland Timestamps: 0:14 - Prologue 3:18 - I - A different Animal 11:55 - II - Exploring 19:15 - III - Ambience 27:55 - IV - Water 32:59 - V - Anthropocen 41:07 - VI - Chronophobia 48:31 - VII - Forward we go 53:12 - VII - Returning This production was shot live in Kristiansand, Norway 12th of May, 2024

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.

This paper explores the artistic legacy of William Gillock through a practice-based lens, focusing on his influence on jazz education and contemporary musical practices. As a composer and educator, Gillock’s work has been instrumental in shaping modern jazz pedagogy. The study reflects on my own pedagogical practice and its relationship to Gillock’s methods, examining how his compositional techniques and teaching strategies continue to inform my approach to jazz instruction. By engaging with Gillock’s work in practical contexts, I highlight how his contributions foster the development of technical proficiency and expressive artistry among students. This reflection underscores the enduring relevance of Gillock's innovations, as they continue to inspire and shape the growth of the jazz community today, ensuring that his legacy remains central to the evolution of jazz education and performance.

The Artistic Research project SHLUK focuses on the topics of noise pollution and sound beyond sound. For this purpose, it questions the (mis)conceptions behind the ideas of audible spectrum and “unwanted sound”. The group aims to put forward a proposal for political involvement with the environment, namely through the practice of field recordings. In this case, the collection of sounds in a specific neighborhood in Prague (Barrandov) carries the bond to discuss these practices. Moreover, the group proposes the idea of “deep recording“ as a device for a necessary acoustic revolution towards a less anthropocentric understanding of ecology.

"(...) a cidade (...) consiste somente de um lado de fora e de um avesso, como uma folha de papel, com uma figura aqui e outra ali, que não podem se separar nem se encarar", um lugar onde as partes, os contrastes e o movimento participam numa dança infindável. E é a busca pela compreensão da linha ténue entre o sim e o não, o claro e o escuro, o tudo e o nada, que dá nome ao nosso trabalho, Oppositions. “(…) the city (…) consists only of an outside and a reverse, like a sheet of paper, with a figure here and there, which cannot be separated nor face each other.”, a place where the parts, contrasts and movement participate in an endless dance. And it is the search for understanding the fine line between yes and no, light and dark, everything and nothing, that gives name to our work, Oppositions.