Research Catalogue

This exposition is a documentary project on the artistic research project Neither Fish nor Fowl. The research project consists of theater making, film making, workshops, performances and writing, and explores the wondrous worlds of becoming in theatre for early years. Together with my theater company Teater Fot, I have been investigating the significance of affect as philosophical, emotional, and material inspiration in the creative process, and in relation to young children in Theater for Early Years. Neither Fish nor Fowl was conducted as a performance project from April 2017 to March 2020. During this period, the research process was documented in RC, presenting methods, writings, and reflections along the way. The pre-production performance (for babies 0-2) was shown at the festival Olavsfestdagene in Trondheim, Norway, summer 2017 and at Trondheim Kunsthall autumn 2017. The full production, Begynnelser (for 3-5 years), was presented in april 2018 in co-production with the venue Teaterhuset Avant Garden in Trondheim. Baby Becomings (0-2 years), was presented at festivals and for kindergartens in Trondheim autumn 2018, and the final version Himmel & Hav / Sky & Sea was presented at Rosendal Teater in in March 2020, touring kindergartens for one week. Animalium (2019) was a a kind of spin-off with film making, workshops, visiting exhibition spaces and eventually article writing with an exposition in VIS - Nordic Journal for Artistic Research #2 on the theme Estrangement. In 2020-22 Animalium has become a new research project, looking at post humanist approaches to different sites such as kindergarten spaces, libraries and art exhibition spaces. We are developing new performance strategies with deepening our improvisational and listening skills into a more-than-human sympoietic intra-playfulness. Trying to perform these concepts, we might understand more of what they actually mean to our artistic practice.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

This practice research project (re) imagines the young female body and the transformation of adolescence; using the curve as an expanded motif, conceived in relational, figurative, temporal and geometric terms.   I reflect on how the adolescent body is (re) presented differently by digital technologies, through the prism of feminist post-human philosophy. I explore how new media can (re) imagine the pubescent  body in its polymorphous becoming using multimedia time displacement techniques and immersive technologies. Through multimedia technologies - photography, film, animation and 3D - I explore the female figure from an eco feminist perspective. I aim to emancipate the young female figure from a patriarchal representation and linear trajectory to one that looks both backwards and forwards to a possible future, a feminist space (Kristeva. 1981); using a feminist praxis to examine the possibilities of a non-linear arc of transformation. Through a series of iterative experimental digital artworks I (re)imagine the young female figure in terms of relational movement (Manning. 2009) and the post-human notion of becoming woman (Braidotti. 2016). I explore how the adolescent girl/woman moves in relation to the environment and others, using immersive digital technologies that privilege a sensory encounter.

Reproducing coercion consists of a book and a film: both pieces of work compliment each other and provide a detailed exploration of authoritarian group (commonly referred to as cults) coercive techniques. The films offer visual poetics that support the scientific work and portray the end results of the techniques explored - from the perspective(s) of cult members. The film: Journeying into the intangible and often legitimate yet immoral tools of control, manipulation and precaritization used by high-pressure groups, the scientific work offers insight into common characteristics that help identify and analyze coercive groups, regardless of their ideology or area of operation. The written part: The written work on the other hand, delves into an exploration of capitalism (in its various forms and historical structures within western context), and the common characteristics class - based societies exhibit with coercive groups. More notably, the focus is on the reproduction of ideology and the functions of Ideological State Apparatuses in replicating class exploitation and aiding in its internalization. The topics in this work, explored with an experimental approach, incorporating the author’s personal experiences and recollections, while referencing films he’s produced on the subject matter. The structure: The first part seeks to identify the characteristics of high-demand groups; it also delves into an overview of Althusser’s theories on the reproduction of ideology. The second part explores the parallels between various forms of capitalist ideology and high-demand groups, while focusing more on absolute thought, language and precaritization. The third part journeys into labour, hierarchy, and compartmentalization of the workplace, exploring how systems are reproduced and how they endure through repetition. By comparing cult coercion methods to the reproduction of capitalism, the thesis seeks to offer a unique perspective on how ideology is reproduced, irrespective of the doctrine.

This article delves into the immersive auditory landscape of Saturday Art School at a North Eastern University in the United States, exploring the profound role of sound in shaping creative environments. The paper employs three distinct movements (noise, clapping, and silence) as a trilogy of unraveling the intricate interplay between sound, text, and artistic expression. The visually performative writing reveals the transformative power of sound in the art classroom, highlighting the potential of embodied sound knowledge to shape our daily experiences and foster meaningful connections of noise, clapping, and silence. In this exploration, the boundaries between art and sound dissolve, inviting readers to engage in a multisensory journey where the interplay of sound and visuals fosters a new perspective on artistic expression and the relationship between individuals and their environment.

This exposition is a copy of Ivar Grydeland's artistic research fellowship project (2011-2015) at The Norwegian Academy of Music, financed by The Norwegian Artistic Research Fellowship Programme. The exposition was redesigned within The Research Catalogue in 2024. The content is identical to the original documentation. ________________________ Ensemble & Ensemble of Me is an artistic research fellowship project carried out at the Norwegian Academy of Music, as part of The Norwegian Artistic Research Fellowship Programme between 2011 and 2015. In this project I produced solo improvisations deriving from the music of two improvising ensembles to which I belong: Dans les arbres and Huntsville, and I produced collective improvisations with the ensembles. The project’s key questions: - What are my concepts when improvising with the ensembles and when improvising alone? - How do the ensemble improvisations inform my solo improvisations? - What do I think about when I think about our and my own improvisations? The Haruki Murakami-paraphrase in the sub-heading indicates a process of on-going reflection upon what I regard as key aspects when I improvise. More specifically, what I regard as key aspects in the music of Dans les arbres and Huntsville, as well as for my own solo improvisations. These reflections reveal key aspects and main challenges that emerged during my attempts to create solo works informed by the ensembles. The reflections are chiefly documented in the form of a personal encyclopaedia. The encyclopaedia includes audio and visual examples, both from the final artistic results and from artistic activity during the project.