Research Catalogue

This exposition introduces the Art + Tech Lab at Stockholm University of the Arts — an emerging artistic research environment dedicated to the intersections of storytelling, technology and creative entrepreneurship. The Lab explores how artistic narratives evolve when shaped through immersive, interactive or algorithmic systems, and how technological experimentation can open new pathways for audiovisual futures. The exposition outlines the motivations behind establishing the Lab, its artistic and pedagogical grounding, and its role within Uniarts’ wider research ambitions. It reflects on the challenges and opportunities of building interdisciplinary research spaces inside an arts university, and considers how the Lab may develop through collaborations, residencies and cross-sector exchange. Rather than presenting a complete archive, this exposition offers a conceptual frame and an initial articulation of the Lab’s research questions and future directions.

My project explores the topic of identity, belonging, and freedom through illustration, poetry, and urban space. This semester has been dedicated to finishing my project. I placed new works across several areas, continuing to spread my posters and presence of pigeons within the urban spaces.

This project began in 2018, with the simple desire to play songs that we love. These could be pieces with strong associations, ones we had enjoyed singing and playing before, or songs we had never sung and that were, perhaps, even new to us. When the songs were written or what genre they might come from was not important. Original instrumentation (piano, harpsichord etc) and received ideas about vocal style were also not a priority. Finding a way of creating renditions with the tools at hand (Alwynne's voice and Hans Knut's harmonium) is what originally defined the project.

In this half paper, half soliloquy, I aim to propose re-enactment as a research method. Through textual analysis and situated reflections, I will explore the potential of re-enactments in performative returning to destabilize and reconfigure canonical understandings of the past, and consider any implications this understanding of re-enactment can have within research approaches

In this study I elaborate on how Charms unfolds as a plastic experimentation rooted in an initial vision of the body. It is grounded in a reimagined body image, constructed from other imagined bodies, such as the anatomical flayed figure and protective devices. This study explores the notion of the body turned upside down —both literally and conceptually — reconfigured through an armor-like structure in which flesh paradoxically assumes the role of an external layer. The resulting image is of a body that is both armored and exposed, charged with contradictions that disrupt binary oppositions such as inside/outside, alive/dead, human/animal, and powerful/fragile. This hyperbolic Charms, constructed from two distinct costumes, is offered for visual contemplation, recurring within contemporary visual culture as a manifestation of the scientific body still subjected by imagination and visceral sensation. The work, a multichannel video installation, also investigates the body’s capacity to generate imaginaries through movement, employing measurement tools from the biomechanics research laboratory to visualize this dynamic relationship.

At the beginning of the COVID-19 pandemic in 2020, we, in our role as lecturers, conducted hybrid workshops with design and art students from ten partner institutions on five continents. Our goal was to explore soundscapes from different viewpoints, and we were deeply impressed by the outcome. The recordings and their accompanying images and conversations dissolved geographical borders along with social, cultural, and structural differences. Following Hartmut Rosa, we understand this atmosphere of connection produced between the participants and the soundscapes themselves to be a resonance space, which only became explicit to us after some time had passed. In this article, we re-interpret this space through personal recollections and theoretical positions, and claim that such a collaboration holds pedagogical and artistic implications for future teaching and creative practice. These include not only the impact upon technology in the classroom, temporal perception, inter-relationality, and care practices, but also the artistic benefits of opening up spaces of resonance as a means of engaging with the challenge of intercultural communication and witnessing in our global world.