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Everything could be Different
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Feeling the need to counteract the prevailing narrative that humanity is gradually heading south, I want to propose an alternative story: everything could be different!
With more than eight billion people on planet Earth, there also exist at least eight billion realities which all manifest in the same world. Therefore, what I believe we are lacking and what I want to put back on the menu is perspective.
This project wants to make you hungry for the future. Following the analogy of a five-course meal, an immersive installation dismantles the dreamless sleep, gives space for cleansing and purification, and invites to dare to dream big again.
NO:
Veiledet av følelsen for å motvirke det rådende narrativet om
at menneskeheten gradvis gå ned i sluket, jeg ønsker å foreslå en alternativ fortelling: alt kunne vært annerledes!
Med mer enn åtte milliarder mennesker på planeten Jorden,
finnes det også minst åtte milliarder virkeligheter som alle manifesterer seg i den samme verden. Så det jeg tror vi mangler, og det jeg vil sette tilbake på menyen, er perspektiv.
Dette prosjektet ønsker å gjøre deg sulten på fremtiden. Ved å følge analogien med et femretters måltid, demonterer en immersiv installasjon den drømmeløse søvnen, gir rom for rensing og lutring, og inviterer til å våge å drømme stort igjen
ἀνάπτυξις 4
No full textIndividually, the sheets made available on this page are called ‘handouts’. As a target·sequence of 71 elements, in chronological order, they are called ’footprints’. Footprints and handouts was the name Norman Potter gave to a project he anounced in 1990—Models and constructs: margin notes to a design culture—but never got to complete. The walk and its outcomes. The process of writing and taking steps. Thinking without overthinking. More like hunting and gathering, perhaps.
Maybe here is a hope shared by many art·schools: that energy and structure somehow will come together, if we just let them (with the conjoint work of hands and ·time). Walking. Thinking. Walking again. Asking: if there is a system to the ‘madness’ that emerge from the process of walking and thinking? Is it a pious hope, or is there a reality to it? Perhaps some realisations occur only if we are guided by pious hope? We may also ask: is the eternal return of such questions degenerative?
If there is a system, it is held together by a rotten string (Malamud)? Are resemblances inarticulate (‘same as’, ‘similar to’, ‘different from’ & ‘other of’ an actual system)? The sort of on·balance staus on structure and energy, that we establish for qualia ranging from ‘mental health’ to ‘environmental care’: trailing from the human unconscious in psychoanalysis, to the terrestrial manifested in the qualities of a landscape/terroir: seasons, earth, beasts and humans together.
The same idea of trail is repeated if we take a line for a walk, walk the line for a talk, talk the walk, and walk the talk: an ecology of thinking featuring in the example of the collection uploaded on this KHIODA·page. Growing wiser from the realisation that the relation between structure and energy cannot be posed as a problem to be solved—once and for all—as though it had a computable solution (that we would have to care because we have proved it, and so on…).
It doesn’t work like that. Or, it can be mathematically proved not to work like that. This is the background for this series having evolved unto a concern with mathematical proof, formulated in terms of Jean-Yves Girard’s linear logic: which, in the lingo, has been coined a ‘substructural’ logic. What a better place to inquire into the relation between structure and energy! It says: every operation changes the state of the system: what was possible at one time, is longer in the next.
Would it for instance impact the way we think about industry? If industrial production is not repetition—as Marcel Duchamp indicated with his ‘ready·mades’—we know that they have serial number: so, like prints, they are editions (Didi·Huberman). If they are identical, we know that they will break down in each their way, at each their time. A sculptural perspective on industrial production invites vistas like these: non·sites, or depositories of dislocated items w/a number.
If structure & energy are key to how such items are present & manifest, we realise that representation is not about making substitute·copies of an original, but acts on their localisation (Frederico Campagna). Product·ethnographies move in an opposite direction to advertisement, in that it aims to locate the product. But as we move from the ornamental beauty of supply·chains to global logistics, we are in trouble: surrending to one·eyed exploitation once more (ever again).
This trouble has been given a name: the anthropocene. It has given rise to a set of predictable responses. Regional/national selfishness contra a state of global peril. What if, in the wake of these turns, we shift our orientation from a global to a terrestrial scope (Bruno Latour)? What if we tease out the workings of the inner mechanisms of the mirror·world (Naomi Klein)? Or, the sense that you are not a gadget (Jaron Lanier)? Moving to/from the planet, perception to the person.
If we take interest in the effective procedures that link these fragments/facets together, it is clear that we are moving from the exploitation of cause, unto the exploration of cause: in that sense we are moving unto metaphyics (defined as the science of causes). However, if we tether such exploration to the growth, development and explanation (ánáptuxis/ἀνάπτυξις) in the making of physical models, we can develop materiality as a literal conduit of representation/localisation.
This is because materiality acts directly on localisation. A terrestrial scope can emerge from this—moving from the generic global, to the unique planetary: that planet Earth is unique, that its places are unique, that its people are unique. It needs not to be advertised, but to be realised. And it may be one of the greater tasks of art·schools to promote and facilitate this in society at large. The footprints and handouts are a modest contribution. It is difficult before it becomes simple.
Suggestion for reference (APA7th)
Barth, Theodor. (2025). # (number)—title. **ánáptuxis 4**. Oslo national academy of the arts (KHiO).** = italic
Fragments of a bathhouse
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This project explores the role of touch and bodily perception in architecture, emphasizing the often-overlooked haptic qualities of building materials. At its core are a series of architectural makings what I refer to as visionary fragments that reframe commonly used building elements, inviting reflection on their physicality, origin, and meaning. These are combined with the many phenomena of water, forming a dialogue between the built environment, an element essential to all life, and the perceiving human body.
The result exists in a space between past, presence, and the future, challenging conventional perceptions of scale, use, and material familiarity.
The fragments are in a longer research folder combined with speculative drawings and imagined as fragments of a speculative bathhouse. The narrative reimagines KHiO as a place of ritual, cleansing, and reflection. This fictional layer grounds the work in cultural and personal memory while opening up space for myth and imagination.
Ultimately, the project aims to create architectural forms that are physical, grounded, and emotionally resonant, spaces that invite us to feel more deeply, observe more closely, and reconsider our relationship with the materials and environments that surround us. Some might call it every day poetry.
NO:
Dette prosjektet utforsker berøringens og kroppslig persepsjons rolle i arkitekturen, med særlig vekt på de ofte oversette haptiske kvalitetene ved byggematerialer. I kjernen av prosjektet finnes en serie arkitektoniske lagninger, jeg kaller de også visjonære fragmenter, som omformer kjente bygningskomponenter og inviterer til refleksjon rundt deres fysiske egenskaper, opprinnelse og betydning.
Disse fragmentene kombineres med vannets mange fenomener, og danner en dialog mellom det bygde miljøet, et element som er essensielt for alt liv, og den sansende menneskekroppen.
Resultatet eksisterer i et rom mellom fortid, nåtid og fremtid, og utfordrer vante oppfatninger av skala, funksjon og materialgjenkjennelse.
Fragmentene inngår i en større forskningsmappe sammen med spekulative tegninger. Narrativet omtaler Kunsthøgskolen i Oslo (KHiO) som et hypotetisk badehus og et sted for ritual, renselse og ettertanke. Dette fiktive laget forankrer arbeidet i kulturell og personlig minne, samtidig som det åpner opp for mytologi og fantasi.
Til syvende og sist søker prosjektet å skape arkitektoniske former som er fysiske, jordnære og emosjonelt resonante – rom som inviterer oss til å føle dypere, observere mer nøye, og revurdere vårt forhold til materialene og omgivelsene rundt oss. Noen vil kanskje kalle det hverdagslig poesi
Hva er kreativitet og hvilke faktorer kan påvirke kreativitetsutvikling i læringsprosess?
No full textNO:
Denne oppgaven undersøker begrepet kreativitet i utdanningssammenheng, med særlig fokus på danselinjen i videregående skole. Gjennom en kombinasjon av teori og et FoU-prosjekt analyseres hvordan faktorer som mentale vaner, selvtillit, indre motivasjon og læringsmiljø påvirker studenters kreative utvikling. Oppgaven fremhever betydningen av balansen mellom struktur og frihet, og viser hvordan gruppearbeid, improvisasjon og et trygt læringsmiljø fremmer kreativitet. Sammenligningen mellom studenters og læreres perspektiver gir innsikt i hvordan pedagogisk støtte kan styrke kreative prosesser i undervisningen.
ENG:
This thesis explores the concept of creativity in education, focusing on the upper secondary dance program. Combining theory with a research and development (R&D) project, it analyzes how factors such as mental habits, self-confidence, intrinsic motivation, and the learning environment influence students’ creative development. The work emphasizes the importance of balancing structure and freedom, and shows how group work, improvisation, and a supportive environment foster creativity. The comparison of students’ and teachers’ perspectives provides insight into how pedagogical support can enhance creative processes in education
Tending to wilde
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This is the reflection paper for the master project by Anna Einemo Frøysland. Frøysland writes about the process of making the final piece as well as elaborating on the thoughts behind it. She touches topics like the wilderness of plants, motherhood, negotiation of the boarders of the self, and visceral knowledge about nature from her own roots.
NO:
Dette er refleksjonsteksten for masterprosjektet til Anna Einemo Frøysland. Frøysland skriv om prosessen omkring avgangsførestillinga, samt tankane som ligg bak denne. Ho rører ved tema som villskapen i planter, moderskap, fohandling om grensene til sjølvet, og djup kunnskap om natur som stammar frå hennar eigne røter
Fear, rage and disintegration at KHiO
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Min mastertext undersöker tvivel, jakten på mening och hur en kris kan påverka det konstnärliga uttrycket – både som ett hinder och en drivkraft. Genom att utforska sårbarhet och osäkerhet som en del av den konstnärliga processen ställer jag frågor om hur skapandet påverkas av yttre och inre omständigheter. Kan en kris leda till nya sätt att se och arbeta, eller skapar den en känsla av stagnation? Vilka strategier utvecklar vi för att navigera genom en tillvaro där mening ständigt omförhandlas? I denna undersökning står den emotionella spänningsfältet mellan uppgivenhet och drivkraft i centrum.
ENG:
My research paper explores doubt, the search for meaning, and how a crisis can influence artistic expression—both as an obstacle and a driving force. By examining vulnerability and uncertainty as integral parts of the artistic process, I question how creative work is shaped by external and internal conditions. Can a crisis lead to new ways of seeing and working, or does it create a sense of stagnation? What strategies do we develop to navigate a reality where meaning is constantly renegotiated? At the core of this investigation is the emotional tension between resignation and drive
The story of birth, oblivion and revival of the famous Pas de Deux
No full textThe piece with which I graduated from the Vaganova Ballet Academy in 1985, was the Satanella Pas de Deux, a dance that is well-known an immensely popular in the world of Ballet.
I learned it directly from teachers who had a deep knowledge and respect for the history of the Classical Ballet, I know this piece of choreography extremely well. However, seeing it danced nowadays made me question my own memory and knowledge, because what I see dancers dance today is quite different from what I learned all those years ago.
So, the idea of my project emerged. The full-length ballet Satanella does not exist, the original choreography having been lost. Petipa’s version of Satanella was never notated, nor the Pas de Deux. The question is then - How did the famous Pas de Deux survive to this day on its own? Is the choreography I know close to the original one of Petipa?
The aim of my research in the very beginning was to answer those questions by following the history of this ballet from its creation in XIX century till today, analyse what could have triggered the changes it suffered since its sudden reappearance in 1975, and most importantly, document that 1975 version using modern technologies that are available today, because as my research shows this version has real connections to the one created over three-quarters of a century ago.
Work on that project took me on quite a journey as I have learned about Satanella’s creation, success, transformations and oblivion, reappearance of the Pas de Deux in the 1970s and its successful new life after that.
It was an incredibly interesting process, that made me realize that the work I started more like historical research, turned out to be much broader and more complex. It raised many important questions one of which was - Do we underestimate the importance of the personal knowledge of today’s professionals by our ever-greater reliance on technology? Do we use the method of passing knowledge from dancer to dancer and teacher to student enough? We call this method “traditional” in the ballet world and it exists for generations - do we still trust it? As I will try to make clear in my work, without this person-to-person way of transmitting the choreography we would not have known the Pas de Deux of Satanella that is so famous and popular today
Skuggan är verklighetens följeslagare
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Denne masteroppgaven utforsker hvordan kunst kan utfordre og utvide vår oppfatning av virkeligheten gjennom fenomener som Skyggen, Spøkelset, Avtrykket og Speilingen. Ved å analysere kunstneriske verk og teoretiske perspektiver, blant annet Peter Geschwinds installasjoner og Jacques Derridas konsept hauntologi, undersøker teksten hvordan det usynlige og det fornemmelige kan manifesteres i billedkunst.
ENG:
This thesis explores how art can challenge and expand our perception of reality through phenomena such as the shadow, the ghost, the imprint, and the reflection. By analyzing artistic works and theoretical perspectives, including Peter Geschwind’s installations and Jacques Derrida’s concept of hauntology, the text examines how the invisible and the perceptible can manifest in visual art
Labels
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This master’s thesis investigates the dual nature of labels, their power to both unite and divide. The research aims to explore and express human diversity by first illuminating what connects us, cultivating empathy and mutual understanding. Central questions include: How do labels, both self-imposed and externally assigned, shape our perception of self and others? And what lies within the liminal shared space "in-between" that transcends these categories?
The project unfolds through two interwoven trajectories:
Theoretical: Engaging with anthropology and philosophy, particularly in relation to identity formation, rites of passage, and the mechanisms of labeling. The work draws inspiration from influential theatre practitioners, with a special focus on the legacy of Tadeusz Kantor. It includes participation in theoretical workshops and masterclasses in directing and performance.
Practical: A sustained investigation of the artist’s own identity and its role in contemporary society, carried out through artistic projects, collaborative research with culturally diverse participants, and continuous self-reflection. The inquiry culminated in the creation of the self-authored performance We All Have a Navel, and participation in About Phenomena and Existences directed by Johanna Øyno.
NO:
Denne masteroppgaven undersøker merkelappers dobbeltnatur, deres evne til både å forene og splitte. Forskningsprosjektet søker å utforske og uttrykke menneskelig mangfold ved først å belyse det som forener oss, og slik fremme empati og gjensidig forståelse. Sentrale spørsmål inkluderer: Hvordan former merkelapper, både selvpåførte og pålagt utenfra, vår oppfatning av oss selv og hverandre? Og hva finnes i det liminale, delte rommet "imellom" som overskrider slike kategorier?
Prosjektet utvikler seg langs to sammenvevde spor:
Teoretisk: En fordypning i antropologi og filosofi, særlig med fokus på identitetsdannelse, overgangsriter og merkelapper som sosial mekanisme. Arbeidet er inspirert av innflytelsesrike teaterkunstnere, med særlig vekt på arven etter Tadeusz Kantor. Prosessen inkluderer deltakelse i teoretiske verksteder og masterklasser innen regi og scenekunst.
Praktisk: En langvarig utforskning av kunstnerens egen identitet og dens rolle i samtiden, gjennom kunstneriske prosjekter, samarbeid med mennesker fra ulike kulturelle og sosiale bakgrunner, og kontinuerlig selvrefleksjon. Det praktiske arbeidet kulminerte i den egenproduserte forestillingen We All Have a Navel, samt deltakelse i About Phenomena and Existences i regi av Johanna Øyno