ACKNOWLEDGEMENTS
I would like to thank my colleagues and students at Østfold University College, the Norwegian Theatre Academy where I conducted this research, and my project supervisors Laura Beloff and Carle Lange.
I would also like to thank the members and candidates of Norwegian Artstic Fellowship Programme for making this a challenging two years, as well as Arts Council Norway and Atelier Nord for providing resources for developing The Emotion Organ.
I am also grateful to all the people who have inspired, supported and assisted in various capacities, particularly my Motherboard colleague and partner, Per Platou, as well as Erich Berger, Aslak Nygren, Piotr Pajchel and Ellen Røed.
Many thanks to all the people I have worked with in collaborative projects: Annesofie Norn, the people of Husøy/Træna, Neptun Sports Diving Club, Runar Hodne, Hauk Heyerdahl, John Erik Riley, Dean Whitbread and Mark Crook, the staff and asylum seekers of St. Mary Magdalene's Church and Gardens, Ole Henrik Moe, Sygin Fossnes, Einar Henning Smebye, Einar Fjærvoll and Geir Jenssen.
For help with The Emotion Organ, thanks to
Harald Beckstrøm, Alexa Døving, Kjell Døving, Peter Elsea, Harald Fetveit, Ivar Frounberg, Bodil Furu, HC Gilje, Infocus.no, Matthew McCabe, Odd Gytri, Atle Barcley, Emil Høgset, Frank Knight, Oliver Larkin, Håkon Lindbäck, Martinus Martinuzzi, Ketil Nergaard, Janne Stang Dahl, Hans Petter og Ole-Christian Schrøder, Jonas Bræin Selvig, Hans Knut Sveen, my sons Seppo and Simon Steggell and Peter Votova.
Last but not least, thanks the KeyStroke team at the Waag/Society for Old and New Media, who, through their remarkable software, introduced me to the notion of synaesthesia, the members of the UK Synaesthesia Association for providing me with first-hand accounts of synaesthetic experiences that have inspired my work, and the Vasulkas for their visions, insights and remarkable acheivements.
