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Krysskravering
No full textSammensetning av digitale tegninger med en animasjon av krysskravering, montert på vegg.
Digitale tegninger skrevet ut på akvarellpapir, animasjon vist på nettbrett.'
A work consisting of printed digital drawings and an animation of crosshatchings mounted on a wall
Infrastructures for Artistic Research
Get PDFLecture together with researcher and film maker Marwa Arsanios regarding the confluences and differences between two ways of putting together artistic production and artistic research.Norsk:
Infrastrukturer for kunstnerisk forskning, med Marwa Arsanios og Dora García
Det ser ut til å være en viss konsensus om den gradvise konsolideringen av et eget forskningsfelt, nemlig kunstnerisk forskning. Det er ingen tvil om at de mange høyere kunstutdanningene og deres ulike tradisjoner har integrert kravene til akademisk forskning i den kunstneriske utdanningen. Fremdeles er det imidlertid vanskelig å forstå nøyaktig hva kunstnerisk forskning består av, hvordan den foregår og hvordan man kan skape rammer for den. Med en forkjærlighet for å fordype seg i detaljer fremfor å falle inn i generaliserende abstraksjoner, foreslår dette programmet å undersøke to casestudier som fokuserer på mulighetsbetingelsene for slik forskning.
Det vil si i de infrastrukturelle komposisjonene som opprettholder den. Hver av sesjonene er utformet for å gå i detalj om de metodene, nettverkene, prosessene og ressursene som har gjort det mulig for hver enkelt kunstner å forske. Hver kreative prosess magnetiserer eller påkaller de strukturene den skal utvikle seg i, og en del av forskningsprosessen er utvilsomt artikuleringen av denne infrastrukturen. I møte med vanskeligheten med å finne et mønster, velger Infrastructures for Artistic Research å samle svært situasjonsbestemte analyser for gradvis å tegne konturene av et aktivitetsfelt der det må tas hensyn til det særegne ved hvert enkelt forskningsarbeid. Kanskje er det nettopp dette som er det særegne ved kunstnerisk forskning, at en del av skapelsen ligger i måten den utvikler seg på, i de infrastrukturelle betingelsene.
Med utgangspunkt i denne tilnærmingen foreslår vi to casestudier som viser hvordan kunstnere har muliggjort skapende forskningsprosesser ved å hybridisere disipliner og, fremfor alt, kulturelle og akademiske infrastrukturer.
English:
Infrastructures for Artistic Research, with Marwa Arsanios & Dora García
There seems to be a certain consensus on the gradual consolidation of a singular field of research, which would be artistic or artist research. Undoubtedly, the proliferation of higher education programs in the arts and their diverse traditions have integrated the requirements of the academic reserarch into artistic training. However, to this day, it remains elusive to grasp exactly what artistic research consists of, how it takes place, and how to generate accompanying frameworks for it. With a preference for delving into details rather than falling into generalizing abstractions, this program proposes to examine two case studies that focus on the conditions of possibility of such research. That is, in the infrastructural compositions that sustain it. Each of the sessions is designed to go into detail about the methodologies, networks, processes, and resources that made it possible for each artist to investigate. Each creative process magnetizes or summons the structures in which it will develop, and part of the research process is undoubtedly the articulation of that, its infrastructure. Faced with the difficulty of finding a pattern, Infrastructures for Artistic Research opts for the aggregation of very situated analyses in order to progressively draw the contours of a field of activity within which the singularity of each piece of research must be taken into account. Perhaps this is the peculiarity of artistic research, that part of the creation is in the ways it develops, in its infrastructural conditions.
Based on this approach, we propose two case studies that show how artists have made possible processes of creation-research by hybridising disciplines and, above all, cultural and academic infrastructures
Models as rhythmic investigations: The itinerancy of intention through intercession, interruption and interception.
No full textThe entire book has been uploaded in the attached pdf, with the permission of the editor in chief Geir Harald Samuelsen, with the publishing rights indicated in the book's colophon.The piece is a contribution to an anthology developed by Geir Harald Samuelsen as part of the PKU project Matter, Gesture and Soul (DIKU) in the wake of a seminar, in a series hosted by the project: Tracing Rhythm. It developed in several stages with exchanges with him for about a year.
The topic and method of the piece is the same: itinerancy. It ties up with model-thinking by reference to Julia Robinson’s reworking of the kind of thinking-in-performance that she discusses in relation to George Brecht (John Cage, Marcel Duchamp, David Tudor and Jackson Pollock etc.).
The work is discussed and referenced in the text. The definition of the model as /non-repetitive seriality/ challenges the reader to conceive—based on analyses of concrete art works—what series are, in such terms (echoing Deleuze’s discussion of series in the Logic of sense from 1969).
The question raise in the piece is apparently simple: what becomes of iteration as a groundwork for developing model-thinking, when it happens under the conditions of a walkabout. The piece was completed at Tyin in the spirit of Tim Ingold’s mountaineering hikes, but also from the topics raised.
Mountaineering is a practice shared by the author and Geir Harald Samuelsen. And the method of seeking an experimental consistency between the thinking and the method of the essay—its thoughts and extensions—is explored on the backdrop of Spinoza, Deleuze and Guattari.
The piece establishes a groundwork for a cartographic research design, that have followed in the wake of these tasks and occasions, worked out in encounter with Samuelsen. It features a theoretical horizon for the development of logbooks as reflective formats in art education at KHiO.
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Preface by Geir Harald Samuelsen:
“Rhythm is everywhere. It is breath and heartbeat; it is the sound of a drum and the repetitive flint carved lines in stone done by a prehistoric human being in Fontainebleau. It is the flickering screen and a million digital processes too small to see. It is engraved in the depth of our minds and bodies. It is how we remember. It is in how we walk, how we talk, how we write, and we act together.
According to Encyclopedia Britannica, rhythm (Greek rhythmos, derived from rhein, “to flow”) is an ordered alternation of contrasting elements, and according to Roland Barthes, both painting and writing started with the same ges- ture, one which was neither figurative nor semantic, but simply rhythmic.
In this publication, exhibition, and seminar (6th of December, 2022 at KMD, Bergen) the contributors have all approached rhythm through contemporary artistic, academic, and archaeological imagination, starting with some engraved and painted lines drawn by our stone age ancestors in France and South Africa.
The initiative for this publication originates from the international artistic research project Matter, Gesture and Soul, based at The Art Academy – Department of Contemporary Art, Faculty of Fine Art, Music and Design, at the University of Bergen.”
The volume also includes documentation from a photogravure project by the author. The series is considered as part of the investigation: a lineup (Aufstellung) rather than an exhibit
Unravelling a Radical
No full textNorsk:
Videoen følger en konservator fra Kulturhistorisk museum (Universitetet i Oslo) når hun reiser til det sveitsiske forskningsinstituttet Paul Scherrer Institute, med fire objekter fra middelalder. I filmen er de arkitektoniske omgivelsene i forskningsfasilitetene nærmest scenografisk assisterende til menneskets søken etter kunnskap om det skjulte. Med verket foldes tiden ut som ikke-lineær, gjennom filmmediet, som en metode for å forstå menneskeskapt teknologi og arkitektur som metafysiske kontaktflater, konstruert i jakt på en ukjent, iboende kunnskap.
English:
The video follows a conservator from the Museum of Cultural History (University of Oslo) as she travels to the Paul Scherrer Institute (PSI) in Switzerland, with four medieval objects. In the film, the architectural surroundings of the research facility provide an almost cinematic backdrop to the human search for knowledge of the hidden. In this work, time is unravelled as non-linear through the medium of film as a means to understand man-made technology and architecture as metaphysical interfaces constructed in the quest for a knowledge that is arcane and inherent
Enkelttegninger
No full textPågående prosjekt i flere deler "Digital tegning"Digitale tegninger, enkelttegniger ikke i serie
Digital drawings, variou
TROLLING WORDS
Get PDFHandout, 2A4 pages, text and images, references, hyperlinksShould CULTURAL HISTORY today include a reflective foundation on IP-addresses and metadata? In the adjoined handout (left), two very different types of archival documents (as of date belonging to a private collection) are discussed as an ensemble. They lend themselves to the discussion of the above question in a contemporary DESIGN in TECHNOLOGICAL & TRANSACTIONAL terms.
The documents are:
A) documents from international diplomacy in energy-trade politics selected and collected by the diplomat K [from the early 80s to the late 90s];
B) diaries written by La Kahina who was married to K, and working with him in a husband-and-wife team [71 diaries written over a period of 40 years].
The case focuses on the Troll-agreement (1986), -platform (1995) and field (1996): the public aesthetics of a huge engineering project, and the political aesthetics of the Troll negotiations and projects grown in a diplomatic domestic unit. The handout has a dual purpose:
1) communicating the project at a workshop organised by Critical Petroaesthetics [OSEH].
2) rounding up learning outcomes from engagements of the National Library of Norway’s §112-series [§112 is the Norwegian Constitution’s environmental paragraph].
The context of this interfacing is the author’s research residency at the National Library of Norway (NLN). It is also pledged to the interfacing of different kinds of archival resources available internally at the library, and other institutions.
The argument pursued in the handout is in line with Jaron Lanier’s understanding og hive minds (AI) as ‘metadata without an address’, and the relations of appropriation entailed by this (Stephen Wright)
The itinerancy of intention through intercession, interruption and interception
Get PDFThis is an element of an exposition by Geir Harald Samuelsen based on the materials from an exhibition/seminar called Tracing Rhythms, as part of the DIKU project Matter, Gesture and Soul in November 2022.
The piece contributing to the exposition, made available as a separate upload here, came about in several rounds, interspersed by an extended conversation with Geir Harald Samuelsen, at different junctures. Formal (artistic research week 2023) and informal. Also the text explores itinerancy as an approach to models (Robinson 2023).
The gestural aspect of walking, the gathering of materials for making, the different contributions of feet and hands in what the project gathers in Matter, Gesture and Soul. The piece is accordingly:
1) an extended conversation;
2) a travelogue;
3) and element of an exhibition from an exhibition/seminar to which—upon request—a humble contribution was made.
The piece features an Annex with a case-study of a model of itinerancy explored on the example of Marcel Duchamp’s later work. It concludes and rounds up with a discussion of the geometric background of smooth and striated spaces in Deleuze and Guattari.
Utgiver: Matter, Gesture and Soul
Lenke til exposition: https://www.researchcatalogue.net/view/2043704/2043705publishedVersio
Material Empathy in the Manufacture of a Multi-block Printed Wallcovering
Get PDFThis paper reflects on the interconnection between studio and factory production as the merging and metamorphosis of my printmaking practice. Specifically, the ‘process of correspondence’ (Ingold, 2013) in the making of multi-block matrices prior to factory printing. In 2020, Kunsthøgskolen i Oslo funded my artistic research, to embody ‘material empathy as the physicality of craft’ (Shales, 2017) in the manufacture of a multi-block printed wallcovering. How did first-hand knowledge of factory production impact my studio practice? What new insights into printmaking were revealed through the delimitations of manufacturing?Material Empathy in the Manufacture of a Multi-block Printed WallcoveringpublishedVersio
Tonsillektomi-mi-mi-mi-mi
Get PDFNorsk:
Denne teksten er en slags håndbok i hvordan å fjerne mandlene til utøvende sangere. Hvordan kan man best verne om instrumentet før, under og etter inngrepet, og hvilke potensielle langstidseffekter kan inngrepet ha?
English:
This text is all about how to remove the tonsils of singers. How will the instrument be most protected before, during and after the surgery, and what potential long-term effects could the procedure have
Flooded Pines 2
No full textAI-generert animasjon basert på mine tegninger.
AI generated animation based on my drawings