Results

Research results registered under the MishMash project in NVA. Do you want your result listed here? Add it to NVA and include MishMash in the funding section.

Type

Book chapter

  2. Book chapter, 2026

    LightHearted—A Framework for Mapping ECG Signals to Light Parameters in Performing Arts

    Hugh Alexander von Arnim; Anna-Maria Christodoulou; Kayla Burnim; Finn Upham; Tejaswinee Kelkar; Alexander Refsum Jensenius

    This paper presents LightHearted, an open-source Python framework for mapping the heart’s electrical activity from electrocardiography (ECG) signals acquired from performers to stage lighting in a concert setting. The aim is to provide dynamic lighting coupled to the physiological processes occurring during performance. Drawing upon critical approaches towards using biosignals in interactive systems and live concert research, we outline the framework’s design and implementation and present a case study with the Aarhus Symphony Orchestra. This paper highlights both technical and conceptual challenges of integrating biosensor-based lighting into a large-scale orchestral context. Results from a post-concert audience survey (N = 324) suggest that while responses to the lighting were mixed, it was generally not perceived as distracting and would be welcomed for use in future concerts.

  3. Book chapter, 2026

    Mixed Method Audio-Video Analyses of Felt Togetherness in a Networked Music-Dance Performance

    Bilge Serdar; Aleksander Tidemann; Alexander Refsum Jensenius

    This paper presents a mixed-method approach to investigating the felt experience of a networked music–dance performance. Using this approach, we explore how a sense of togetherness emerges even when performers are distributed across distant spaces. Drawing on data from the Telematic@Popsenteret research concert, we propose a three-layered analytical framework that integrates computer-based audio-video analyses with qualitative observation, and post-performance interviews. By combining sound–motion synchrony and temporal coupling with performers’ and audience members’ experiential accounts, we examine how dancers and musicians negotiate coordination and shared presence in a telematic environment. Our findings suggest that togetherness in such settings is not merely a matter of temporal alignment, but a dynamically constructed, multimodal process involving perceptual adaptation, cross-modal attunement, and affective awareness.

  4. Book chapter, 2025

    Pixasonics: An Image Sonification Toolbox for Python

    Balint Laczko; Alexander Refsum Jensenius

    Pixasonics is a new Python library for interactive image analysis and exploration through image sonification. It uses real-time audio and visualization to help uncover patterns in image data. With Pixasonics, users can launch one or more small web applications (running in a Jupyter Notebook), probe image data using various feature extraction methods, and map those feature vectors to synthesis parameters. The target users are researchers interested in exploring image and volumetric data and creative users who want an intuitive tool for experimental sound design. Pixasonics’ design aims to strike a balance between an easy-to-use web application with minimal boilerplate code necessary and a library that can be integrated into more advanced workflows. Real-time exploration is at the heart, but it can also be used to script non-real-time sonifications of large datasets. This paper presents Pixasonics, its structure, interface, and advanced features, and discusses preliminary feedback from biology researchers and music technologists.

  5. Chapter in report, 2025

    Kunstnerisk forskning for en kompleks verden

    Michael Francis Duch; Alexander Eriksson Furunes; Alexander Refsum Jensenius; Cecilie Sachs Olsen

    Kunstfagene spiller en viktig rolle i å utvide måten vi jobber med og forstår komplekse samfunnsproblemer. Likevel blir kunstfagene stadig oversett og nedprioritert i forskningspolitikken. Vi spør derfor: hva er, bør og kan kunstens rolle være i det norske forskningslandskapet?

  6. Book chapter, 2025

    Technologies of Capture and the Global Souths

    Budhaditya Chattopadhyay

    In this chapter, the colonial intervention of the technologies of capture are examined in the Global South regions, especially in South Asia in the beginning of the twentieth century. I study the ramifications of this entry in the form of mutating everyday sounds and musical practices into commodified sound objects for industrialisation and sale. From a critical decolonial position, this introduction of the technologies of capture is read here as a precarious intrusion into the sounding and listening cultures of the Global Souths, and a moment of emergence of an extractive capitalism through the colonial routes that devastate the sonic symbiosis of the land.

Conference

  2. Conference lecture, 2026

    MishMash, KI og kreative prosesser

    Synne Tollerud Bull

    Innlegget presenterer forskningssenteret MishMash – Centre for AI & Creativity, et av Norges nasjonale forskningssentre for kunstig intelligens. Presentasjonen diskuterer hvordan KI kan forstås ikke bare som et verktøy, men som en aktiv medspiller i kreative prosesser. Med utgangspunkt i kunstnerisk praksis og forskning i skjæringspunktet mellom teknologi og kultur, belyses nye muligheter, utfordringer og etiske spørsmål som oppstår når KI inngår i kunstnerisk arbeid og kreative næringer.

  3. Conference lecture, 2026

    Creativity Between Art and Science

    Alexander Refsum Jensenius

    First, I will present MishMash Centre for AI and Creativity, a new Norwegian research centre advancing AI to explore and shape human-machine creativity. Funded by the Research Council of Norway in 2025, the centre brings together artists, engineers, and scholars across disciplines to create, explore, and reflect on AI systems that augment creative practice while foregrounding agency, inclusion, and sustainability. Organized into seven work packages, the centre addresses technical challenges such as real-time multi-agent systems and hybrid symbolic learning methods, societal concerns including bias, copyright, and equitable value distribution, and applied domains spanning health, education, cultural heritage, and the creative industries.Second, I will present some of my own ongoing explorations into embodied AI, including inverse control, small language models, and distributed computing. This approach challenges current monolithic, generative models, suggesting an alternative future for creative AI.

  5. Conference lecture, 2026

    Bodies in Motion in the Concert Hall and Beyond

    Alexander Refsum Jensenius; Laura Bishop

    Motion is at the core of how we experience and understand the world, express ourselves, and interact with others. At RITMO, we explore motion that is artistic, expressive, and interactive within a highly interdisciplinary research environment that integrates musicology, psychology, and technology. Increasingly, we are moving our research out of the lab and into the real world, where we can study people behaving as they normally do and capture unique occurrences that cannot be simulated in laboratory conditions. This transition is illustrated by the MusicLab and Bodies in Concert projects, which investigate bodily activity and experiences in performers and audience members during live concerts. From data collected during a series of symphony orchestra concerts, we are learning how musicians coordinate their expressive motion and how audiences synchronize in their bodily responses to the music. We are also learning how to adapt new technologies for real-world data capture, and exploring how captured data can be used for artistic purposes. In this talk, we will discuss some of the concepts, methods, and findings from this line of research.

  8. Conference lecture, 2025

    Artificial Consciouness: Regenerating AI Ethics and Aesthetics

    Budhaditya Chattopadhyay; Frans Jacobi; David Rych; David Jhave Johnston; Eamon O'Kane

    Globally, in the arena of everyday practices, AI systems have increasingly been causing a profound effect on contemporary everyday life across the globe. From surveillance to the Internet of Things and domestic consumption, from social media interactions to arts and culture, AI is taking over the processing of information to provide new perceptions and augmented experiences. At the core of this reconfiguration of technologically mediated everyday practice are datasets, used to drive and produce new narratives across wider ranges: consumer behavior and patterns, mobility, and immigration, post-human thinking, scientific in(ter)ventions, media production and propaganda, online and offline social formations, etc. In this context, the proposed panel presents the collective research of the newly formed Center for AI Ethics, Aesthetics and Creative Human Operations (CAIEAC) at The Art Academy – Department of Contemporary Art (KMD), University of Bergen, Norway. The centre aims to reimagine the integration of artificial intelligence in creative human operations and to challenge hegemonial AI tropes. By moving beyond the binary of utopian and dystopian paradigms, the centre embraces a “Prototopian" model that envisions continuous improvement in adjusting AI technologies to society. The centre fosters innovative and critical approaches to AI, focusing on computational aesthetics, the expansion of creativity through human-machine collaboration, and the development of new conceptual frameworks informed by art, media theory, and interdisciplinary research based on a reflective and inclusive AI landscape that integrates ethical considerations, addresses biases, and promotes decolonial and Indigenous knowledge into different AI infrastructures for a diverse society. The proposed panel will address the ethical lapses in AI with a regenerative approach to consciousness. Especially engaging with applied AI in the arts, the panel explores the creativity-induced resistance against a monolithic world of AI that populates contemporary everyday practices, as mentioned earlier. The panel will advocate for an ethical and inclusive AI system for the future that is emergent, self-reflective, and self-regulating, with an aesthetic inclination towards artistic experimentation and radical innovations by being susceptible to the questions of social justice and political agency.

  10. Conference lecture, 2025

    The emergence and potential decline of cloud-based sample platforms

    Vemund Hegstad Alm; Ragnhild Brøvig

    This presentation explores the emergence of cloud-based sample platforms like Splice and Loopcloud and consider their potential decline in the age of AI-generated music. Sabrina Carpenter’s hit single “Espresso,” released on April 11th, 2024, put the spotlight on the ubiquitous use of online sample platforms in popular music. The songs’ main intrumental elements-guitars and drums-stem from two loops of producer Oliver’s popular pack “Power Tools Sample Pack III” on the sample platform Splice. This caused a surge of social media posts demonstrating how the instrumental track could be recreated in little under a minute. This form of sampling—both cheap and legal, fast and convenient—represents a distinctly different take on sampling than that commonly associated with “golden age hip hopproductions”, where samples are extracted from existing recordings (Brøvig 2023; McLeod and Dicola 2011; Schloss 2004). Besides being more efficient, these sample platforms’ royalty-free models allow producers to use samples freely without fear of legal action. Our presentation will begin by examining the factors leading to the emergence of cloudbased sample platforms. While the legal aspects might have contributed to the development of sampling platforms, we will also trace the platforms’ rootedness in less explored areas ranging from “library music,” to synthesizer preset cassettes and sample CDs bundled with music tech magazines (Cameron 2020). We will then discuss how these platforms, partly due to their mitigation of copyright issues, have contributed to transforming the sampling practices and aesthetics established by early hip-hop productions while also encouraging other forms of practices (Arrieta 2021). Lastly, we will discuss whether the advent of AIgenerated music technology has the potential to disrupt the sample industry altogether. This work will draw on research on sampling, copyright and musical platforms, and include insights gained from our interviews with producers of sample packs.

Exhibition

  1. Exhibition, 2026

    Archival Intelligence (2026)

    Budhaditya Chattopadhyay

    The research exhibition Archival Intelligence examines the roles of today’s all-pervasive digital technologies, such as Artificial Intelligence, in extracting data from archives and museums for profit.

  2. Exhibition, 2025

    Dhvāni

    Budhaditya Chattopadhyay

    Dhvāni means ​“reso­nan­ce” in Sanskrit. Resonances bet­ween soun­ding objects and bet­ween peo­p­le are the star­ting point for this instal­la­ti­on by Indian-born artist and thin­ker Budhaditya Chattopadhyay. In STUK’s cour­ty­ard, a web is stret­ched with hund­reds of Indian cere­mo­ni­al bells and other instru­ments, such as wind chi­mes and ghun­groos. By means of a self-built arti­fi­ci­al intel­li­gen­ce sys­tem, this resoun­ding net­work res­ponds to human pre­sen­ce: foot­steps, voi­ces, hand clap­ping. Through machi­ne learning, the inter­con­nec­ted sys­tem impro­ves its per­for­man­ce over the six weeks of Hear Here, cre­a­ting a beyond-human reso­nant orga­nism. In this way, Chattopadhyay links ancient musi­cal tra­di­ti­ons with con­tem­po­ra­ry tech­no­lo­gies, invi­ting visi­tors to lis­ten empa­the­ti­cally and step out­si­de their judg­men­tal ​“ego”.

Journal article

  1. Journal article, 2026

    Inverse and indirect mappings in embodied AI systems in everyday environments

    Maham Riaz; Cagri Erdem; Alexander Refsum Jensenius

    This paper explores how musicking technologies—interactive systems with musical properties—can enhance everyday public environments. We are particularly interested in investigating the effects of musical interactions in non-musical settings, such as offices, meeting rooms, and social work areas. Traditional music technologies (such as instruments) are built for goal-directed, conscious, and voluntary interactions. We propose a new perspective on embodied AI through systems that utilize indirect, inverse, unconscious, and, at times, involuntary interactions. Four different sound/music systems are examined and discussed with regard to their activity level: a reactive “birdbox,” a reactive painting, active self-playing guitars, and interactive music balls. All these systems are multimodal, containing sensors that detect various physical inputs to produce sound and light, and having varying levels of perceived agency. The paper explores differences between direct/indirect and regular/inverse embodied AI paradigms. This study demonstrates how minimalistic interactions have the potential to yield complex and engaging musicking experiences, challenging the norms of overly intricate AI implementations.

  2. Journal article, 2026

    Investigating Auditory–Visual Perception Using Multi-Modal Neural Networks with the SoundActions Dataset

    Jinyue Guo; Jim Tørresen; Alexander Refsum Jensenius

    Musicologists, psychologists, and computer scientists study relationships between auditory and visual stimuli from very different perspectives and using various terminologies and methodologies. This article aims to bridge the gap between phenomenological sound theory, auditory–visual theory, and audio–video processing and machine learning. We introduce the SoundActions dataset, a collection of 365 audio–video recordings of (primarily) short sound actions. Each recording has been human‑labeled and annotated according to Pierre Schaeffer’s theory of reduced listening, which describes the property of the sound itself (e.g., ‘an impulsive sound’) instead of the source (e.g., ‘a bird sound’). With these reduced‑type labels in the audio–video dataset, we conducted two experiments: (1) fine‑tuning the latest audio–video transformer model on the reduced‑type labels in the SoundActions dataset, proving that the model can recognize reduced‑type labels, and observing that the modality‑imbalance phenomenon is similar to the added value theory by Michel Chion and (2) proposing the Ensemble of Perception Mode Adapters method inspired by Pierre Schaeffer’s three listening modes, improving the audio–video model also on reduced‑type tasks.

  3. Journal article, 2026

    Arab music improvisation corpus for research (AMICOR): development and machine translation experiments | Language Resources and Evaluation

    Fadi Al-Ghawanmeh; Alexander Refsum Jensenius; Kamel Smaili

    Under-resourced languages (and musics) pose a challenge to machine translation (MT). The challenge is greater when the content of the collected dataset is a varied sample taken from a data population that is even more diverse and dynamic. This is the challenge of Arab music vocal improvisation (mawwal). Here, we present the development of AMICOR, a parallel dataset consisting of vocal improvisatory phrases and their corresponding instrumental responses (or tarjamat in Arabic, which literally means “translations”) in the mawwal tradition. These melodic phrases are handled as “sentences” from the viewpoint of natural language. When developing the dataset, we integrated musicological insights in order to evaluate music theoretical differences between sub-datasets, primarily regarding their size, sentence length, performance quality, and shared musical identity. We then experimented with MT to generate instrumental responses to new vocal sentences, comparing several translation modeling configurations that differ (1) in translation approach (Neural MT (NMT) versus Statistical MT (SMT)), and (2) in the dataset handling approach in respect to the maqam (an Arabic musical term referring roughly to a melodic mode), comparing an individual model for each maqam versus a unified model for all maqamat. We found that merging related sub-datasets does not necessarily lead to better results, and may even favor simpler and shorter sentences with lower performance quality and less sophisticated patterns. This issue applies to both NMT and SMT; however, it is greater for NMT. A comparison of confusion matrices of individual-maqam models suggested that, in such a small dataset, the gap between SMT and NMT performance increases further if the styles, or skills, of potential users differ from those who built the dataset used in the training. Our discussion asserts that key factors in system design are the musical background and performance decisions of vocalists who may use such responsive generative models, as well as dataset size and performance quality.

  4. Journal article, 2026

    Performative Togetherness in networked music–dance performance

    Bilge Serdar; Aleksander Tidemann; Alexander Refsum Jensenius

    This article examines how performative togetherness is constructed in a technologically mediated music–dance performance environment. While togetherness is often associated with co-presence and effortless flow, networked contexts introduce perceptual reconfiguration that makes it fragile and effortful. We present the research concert Telematic@PopSenteret, a networked performance involving dancers and musicians distributed across two floors in a museum, connected through audio–video transmission. Using interviews and audio-video recordings, we explore how latency, fractured perception, and the absence of bodily cues transformed the performers’ coordination and induced cognitive strain. We discuss how performative togetherness – defined as the sense of shared meaning-making that emerges through attentional, sensory, and adaptive negotiation – was maintained during the performance.

  5. Journal article, 2026

    Sounding Human: Music and Machines, 1740/2020. By Deirdre Loughridge

    Alexander Refsum Jensenius

    ‘It isn’t real music!’ As I write this review there is an ongoing debate in Norwegian media about a band that has been booked to play in a festival next summer. The band is composed of human performers, but they are playing songs generated by AI. Or, more precisely, they have written the lyrics themselves and then fed them into a commercial AI-based music service that has created a melody and accompaniment. Is this ‘AI music’? Is it ‘real music’? Is it more or less ‘real’ whether they play acoustic instruments or laptops on stage? And, ultimately, does it matter who made what if people want to listen? To understand today’s disruptive introduction of AI-based commercial services better, it may help to look more closely at history. This is where Deirdre Loughridge’s book is a timely and valuable contribution. It reveals that human fascination with—and harsh scepticism of—machine-generated music is nothing new.

Lecture

  2. Lecture, 2026

    KI i kreative prosesser

    Eirik Sørbø

    Foredraget handler om hvordan kunstig intelligens kan brukes i kreative prosesser, spesielt innen kunst og utdanning. KI utfordrer tradisjonelle forståelser av kreativitet, som tidligere har vært definert gjennom originalitet og verdi, og at nye perspektiver også inkluderer intensjon og autentisitet. Foredraget understreker forskjellen mellom produktivitetsøkning og kreativitet: KI er svært effektiv til å effektivisere produksjon, men dette er ikke det samme som å styrke den kreative prosessen. Når kreative oppgaver automatiseres, kan også verdien og eksklusiviteten av resultatet reduseres. KI kan brukes i flere deler av kreative prosesser, som idéutvikling, eksperimentering, produksjon og kuratering, og kan fungere både som verktøy, samarbeidspartner eller materiale. Samtidig vil KI ofte trekke mot det generelle og statistisk sannsynlige, noe som gjør menneskelig perspektiv og kunstnerisk intensjon fortsatt viktig. Foredraget fremhever også at virkelig kreativ bruk av KI ofte krever teknologisk kompetanse og programmering, og at uten dette blir bruken lett overfladisk. Hovedpoenget er at KI ikke bare bør brukes til effektivisering, men til å utvide det kreative handlingsrommet og muliggjøre nye kunstneriske prosesser og uttrykk.

  3. Lecture, 2026

    "Soft" and "Hard" research? Experiences from running a radically interdisciplinary research centre

    Alexander Refsum Jensenius

    In this presentation, Alexander Refsum Jensenius explores the practical and theoretical dimensions of running radically interdisciplinary research centres, focusing on his experiences with RITMO and the newly established MISHMASH Centre for AI and Creativity. He introduces the "coffee machine" philosophy, which advocates for physical colocation and social meeting points as essential tools to overcome institutional silos and bridge the diverse research motivations of fields like musicology, informatics, and psychology. Jensenius highlights the innovative potential of this approach through projects that translate artistic research into medical applications, such as using dance analysis software to screen infants for cerebral palsy and investigating the impact of musical stimuli on biological cells. He further details the MusicLab initiative, which scales data collection to full symphony orchestras to study embodied music cognition and human behaviour in real-life concert settings. The talk concludes by introducing MISHMASH, a national consortium dedicated to fostering human-centric AI that integrates artistic practice with technological development while navigating ethical challenges such as copyright and the preservation of cultural heritage.

  4. Presentation, 2026

    Kunstig kreativitet?

    Alexander Refsum Jensenius

    Trenger vi egentlig musikere, forfattere og filmprodusenter nå som KI kan gjøre jobben? Vi tar diskusjonen om hvordan KI påvirker kreativ næring og kunstneriske prosesser.

  5. Lecture, 2026

    Kunstnerisk intelligens

    Synne Tollerud Bull

    Innlegget undersøker begrepet «kunstnerisk intelligens» i lys av dagens KI-utvikling, med utgangspunkt i forståelsen av kunstig intelligens som infrastrukturelle systemer heller enn autonome, intelligente aktører. Det drøfter hvordan kunstneriske praksiser kan synliggjøre og utfordre slike systemer gjennom eksperimentering, deltakelse og kritisk refleksjon. Med eksempler fra samtidskunst vises hvordan kunst kan åpne «den svarte boksen» og bidra til nye innsikter i forholdet mellom teknologi, samfunn og kunnskapsproduksjon. Innlegget posisjonerer kunstnerisk utviklingsarbeid som en form for kunnskapsutvikling med relevans for en KI-drevet offentlighet.

  6. Presentation, 2026

    Risiko og motstandskraft i kulturens infrastruktur – det neste tiåret

    Synne Tollerud Bull

    Panelsamtalen «Risiko og motstandskraft i kulturens infrastruktur – det neste tiåret» samlet Camara Lundestad Joof (Dramatikkens hus), Kirsti Mathiesen Hjemdahl (Cultiva), Sveinung Rudjord Unneland (Den uferdige institusjonen), Øystein Strand (Kulturdirektoratet) og Synne Tollerud Bull (Høyskolen Kristiania), moderert av Hild Borchgrevink. Samtalen tok utgangspunkt i hvordan kultur i økende grad formes av infrastrukturer, systemer og distribusjonslogikker, og drøftet risiko og handlingsrom i møte med plattformbaserte medieformer. Det ble særlig lagt vekt på behovet for å utvikle robuste og fleksible kulturinfrastrukturer, samt rollen til offentlig finansierte institusjoner og høyere kunstutdanning i å legge til rette for eksperimentering, kunnskapsutvikling og langsiktig motstandskraft.

  7. Presentation, 2026

    Design Agentics :: Creative R&D x AI

    Synne Tollerud Bull; Ida Jahr; Enrique Encinas; Hedda Foss Lilleng; Lene Renneflott

    Arrangementet Design Agentics: Creative R&D x AI undersøker kunstig intelligens som en integrert del av design- og kunstpraksis, ikke bare som verktøy, men som infrastrukturell og agentisk aktør. Gjennom en studentpresentasjon av egenutviklede AI-baserte verktøy og en påfølgende panel- og rundebordsdiskusjon med forskere og bransjeaktører, tematiserer arrangementet hvordan kreative praktikere kan forholde seg kritisk og operativt til eksisterende AI-systemer. Fokus ligger på spørsmål om handlingsrom, makt og design i møte med ferdigdefinerte teknologiske infrastrukturer, samt muligheter for å omforme, tilpasse eller motsette seg disse. Arrangementet avsluttes med lanseringen av forskningsgruppen CRAITR ved AHO.

  8. Lecture, 2026

    Auditory Situationism and Unmedia

    Budhaditya Chattopadhyay

    Artist and researcher Budhaditya Chattopadhyay will discuss his body of work around sounding and listening to sculpt and give shape to two broad theoretical frameworks, namely Auditory Situationism and Unmedia, within which his works can be contextualised; both ideas are hinting at manifestations of decolonial thought intervening into existing sound studies canon, which Chattopadhyay enters with an outsider, nomadic, and polemical impulse.

  10. Presentation, 2026

    Mellom menneske og maskin

    Silje Midtlien Sigurdsen; Camila Urrego; Gunnar Gabriel Gjermundsen; Alexander Refsum Jensenius

    Hva skjer med vår opplevelse av virkelighet, kropp, natur og kreativitet når grensene mellom det menneskelige og det syntetiske blir mer flytende? Samtalen har ikke til hensikt å konkludere om kunstig intelligens er bra eller dårlig for kunsten. Sammen skal vi heller undersøke hva som skjer med oss som skapende mennesker, som publikum, og kanskje også som naturvesener, når teknologien begynner å produsere bilder, idéer og identiteter som tidligere bare kom fra menneskelig erfaring. Fotografiens Hus ønsker velkommen til en samtale som trekker på kunst, økologi og filosofi for å undersøke hvordan kunstig intelligens påvirker hvordan vi skaper, sanser og møter verden rundt oss på.

  12. Presentation, 2026

    Building intersectional Cultural Ecosystems & Institutions for the Future

    Alexander Refsum Jensenius; Jesper Mardahl; Simon Kimmel; Martin Eyerer; Roland Sillmann; Philipp Grefer

    Future-facing cultural ecosystems require new forms of collaboration across public, private, and civic actors. This panel examines best practices in building intersectional institutions and clusters that integrate diverse disciplines, and leaders from art, music, science, policy, to communities, and funding models.

  17. Lecture, 2025

    Kunst i intelligens: Hvilke nye kreative uttrykksmuligheter kan KI åpne for?

    Trond Lossius; Steven Bachelder; Synne Tollerud Bull; Ida Jahr

    Ny teknologi har alltid hatt evnen til å forenkle og effektivisere etablerte arbeidsoppgaver, men med det følger også frykten for at funksjoner og individer blir overflødige. Hva skjer når teknologien strekker seg forbi det kjente og utfordrer oss til å utforske noe nytt? Kunstig intelligens (KI) gir oss muligheten til å stille disse spørsmålene på en ny og spennende måte. Hvilke nye kreative uttrykksmuligheter kan KI åpne for? Hvordan kan kunsten utfordre og subvertere KI? Hvordan kan vi forstå lyd, bilde, video og litterær tekst generert av KI i forhold til autentiske kunstneriske uttrykk? Hvor overlapper og utfyller de hverandre, og hvor er de fundamentalt forskjellige? Kunsten har et ansvar for å gå i kritisk dialog med KI, for å bidra til en dypere forståelse og debatt om KIs natur og samfunnspåvirkning. Hvordan skal kunstutdanningene ta dette ansvaret, gjennom kunstnerisk utviklingsarbeid, forskning og utdanning? Vi inviterer til en debatt der vi sammen utforsker disse spørsmålene og mer. Bli med oss i en diskusjon om kreativitet, subversjon og autentisitet i møte med kunstig intelligens. Velkommen!

  23. Lecture, 2025

    Video Visualization - Learn to use MG Toolbox

    Alexander Refsum Jensenius

    This workshop is targeted at students and researchers working with video recordings You will learn to use MG Toolbox, a Python package with numerous tools for visualizing and analyzing video files. This includes visualization techniques such as motion videos, motion history images, and motiongrams; techniques that, in different ways, allow for looking at video recordings from different temporal and spatial perspectives. It also includes some basic computer vision analysis, such as extracting quantity and centroid of motion, and using such features in analysis. MG Toolbox for Python is a collection of high-level modules that generate all of the above-mentioned visualizations.The toolbox is relevant for everyone working with video recordings of humans, such as in linguistics, psychology, medicine, human-computer interaction, and educational sciences.

  24. Lecture, 2025

    Technologies supporting research on music-related body motion

    Alexander Refsum Jensenius

    As researchers, we are increasingly using emerging technologies, such as multiple mobile eye tracking, virtual reality, and physiological indicators (e.g., heart rate and respiration) to study professionals’ individual and collaborative work practices. In this workshop, we will demonstrate how these technologies can be provided to professionals in various fields (e.g., education, healthcare, business, engineering, the arts) as a resource for self-reflection, enabling them to study and improve their own practices. The goal of this workshop is to introduce and facilitate participants to experience novel approaches that use these emerging technologies and tools to help practitioners study their own skills and understand their learning processes. We will also show how focus groups and stimulated recall interviews can encourage and guide professionals to discover ways to incorporate these new technologies into their practice as resources for reflection and growth. The workshop’s theme is educational practice and research, with a focus on showing how we can offer teachers theoretically driven and empirically validated methodologies for witnessing the micro-processes of collaborative mathematics learning. We will show and discuss how multiple mobile eye-tracking and virtual reality can be used in educational practice and for teacher training and professional development. This approach and these emerging technologies are applicable not only in education, but also in all other fields of research that aim to study individual and collective practices, as well as professional learning, during the process of acquiring new skills or improving existing ones.

  27. Lecture, 2025

    Musikk og KI - Utfordringer og muligheter

    Alexander Refsum Jensenius

    Kunstig intelligens påvirker det meste om dagen også musikklivet og musikkbransjen. Men hva er egentlig KI og hva er utfordringer og muligheter innenfor kunst og kultur? Presentasjonen diskuterer ulike pedagogiske tilnærminger og gir eksempler på hvordan det nye KI-senteret MishMash skal angripe problemstillingene.

  28. Lecture, 2025

    MishMash Centre for AI & Creativity

    Alexander Refsum Jensenius

    A presentation of MishMash, a large Norwegian consortium dedicated to exploring the intersection of AI and creativity. Our primary objective is to create, explore, and reflect on AI for, through, and in creative practices. We will investigate AI’s impact on creative processes, develop innovative CoCreative AI systems, and address AI’s ethical, cultural, and societal implications in creative domains.

  29. Lecture, 2025

    MishMash - exploring AI and creativity between art and science

    Alexander Refsum Jensenius

    A presentation of MishMash, a large Norwegian consortium dedicated to exploring the intersection of AI and creativity. Our primary objective is to create, explore, and reflect on AI for, through, and in creative practices. We will investigate AI’s impact on creative processes, develop innovative CoCreative AI systems, and address AI’s ethical, cultural, and societal implications in creative domains.

  34. Lecture, 2025

    KI – Kunstens død eller tidenes mulighet?

    Synne Tollerud Bull; Flu Hartberg; Bruno Kvae; Erle Marie Sørheim

    Fra leksikon til psykolog og kunstner – på rekordtid har kunstig intelligens blitt en stor del av livene våre. Hvordan bør kunstfeltet møte denne nye teknologien? Vil KI gjøre tegnere og illustratører overflødige, eller er dette snarere en enorm mulighet for utøvende kunstnere?

  37. Presentation, 2025

    Are we still needed?

    Alexander Refsum Jensenius

    Den kunstige intelligensens frammarsj fortsetter å være den største kulturelle og samfunnsmessige omveltningen siden den industrielle revolusjonen. Siden fjorårets konferanse har det skjedd vanvittig mye, derfor inviterer vi igjen til en dag fylt med internasjonale nøkkelpersoner, banebrytende prosjekter og nye perspektiver på hvordan KI endrer måten vi utvikler, produserer og opplever film.

  43. Presentation, 2025

    Kan musikk skape fred?

    Alexander Refsum Jensenius; Kristin Bergtora Sandvik; Birgitte Grimstad; Andreas Hoem Røysum; Lars Klevstrand

    På konsert føler vi samhold med fremmede, viser forskning. I et kort øyeblikk samler musikken oss. Hvordan kan musikk også samle oss i urolige tider? Flere artister jobber for fred, på ulike måter. Møt noen av dem på Scene Domus Bibliotheca! Hva er det med akkurat musikk som forener oss? Bli med på musikksnakk med artistene Birgitte Grimstad, Lars Klevstrand og Andreas Røysum. Du møter også fredsforsker Kristin Bergtora Sandvik. Her vil musikkprofessor Alexander Refsum Jensenius lede samtalen med ulike spørsmål knyttet til tematikken – kanskje svarer de på ditt spørsmål også? Samtalen er beregnet for et publikum uten faglig bakgrunn i temaet.

  44. Presentation, 2025

    Concientia

    Per Snaprud; Alexander Refsum Jensenius; Tor Endestad; Randi Wøien

    I forbindelse med utstillingen Conscientia på Gamle Munch arrangeres en samtale om bevissthet og det å skape. Utgangspunktet for tema til utstillingen er bevissthet og forhold knyttet til det å skape. En del av utstillingen tar utgangspunkt i en serie med selvportretter av Randi Wøien basert på MR bilder tatt av hennes eget hode. Bildene representerer et sett av intrikate mønstre i ulike størrelser og sammensetninger og kan refereres til ulike organer, andre vesener og ren natur. Samtidig er de en representasjon av kunstneren slik hun er satt sammen i sitt eget hode. Keramiker Jorid Krosse lager objekter med form og mønster som tar inspirasjon fra naturen og kan relateres til organiske strukturer, hoder og andre vesener. I samspill med maleriene vil de keramiske objektene settes i en relasjon til det kroppslige. Samtalen om bevissthet og det å skape bruker utstillingen som et utgangspunkt til å få belyst hva den skapende prosessen kan bety for vår egen utvikling og hvordan hjernen fungerer og responderer på skapende prosesser. Tema for samtalen vil være forholdet mellom kunst og bevissthet, om relasjonen mellom maleri og objekt og om hvordan det å skape kunst kan påvirke vår forståelse av oss selv og omgivelsene. For tiden forskes det mye på hva som faktisk skjer i hjernen når man skaper noe. Vi har fått med oss to av de fremste forskerne på temaet fra universitetet i Oslo. Alexander Refsum Jensenius er professor i musikkteknologi ved Universitetet i Oslo, hvor han også leder RITMO Senter for tverrfaglige studier av rytme, tid og bevegelse og MishMash Senter for KI og kreativitet. Han forsker på hvordan lyd og musikk påvirker kropp og sinn, bevisst og ubevisst. Tor Endestad er førsteamanuensis i kognitiv- og nevropsykologi på univeristetet i Oslo og er tilknyttet Ritmo. Han leder FRONT neurolab og forsker på kognitiv psykologi og kognitiv nevrovitenskap med fokus på hjerneavbildningsmetodikk. Pågående forskningsprosjekter omfatter studier av basale mekanismer i oppfattelse av rytme og tid, oppmerksomhet og hukommelse. Til å moderere samtalen har vi fått med oss Per Snaprud. Han er vitenskapsjournalist og før det hjerneforsker. Han arbeider i det Stockholm baserte magasinet Forskning og Framsteg og har tidligere vært virksom ved Dagens Nyheters og Sveriges Radios vitenskapsredaksjoner. Han er også forfatter av boken «Medvetandets återkomst, om hjärnan, kroppen och universum». Victoria Johnson er fiolinist, underviser ved Institutt for musikkvitenskap og deltar i ulike forskningsprosjekter ved UiO. Hun har hatt solokonserter blant annet under Festspillene i Bergen, Ultima, Borealisfestivalen og Soundwaves i London. Hennes lidenskap for samtidsmusikk har resultert i flere bestillingsverk og plateinnspillinger. I denne sammenhengen vil hun spille musikk som er direkte komponert til bildene og objektene i utstillingen.

  49. Presentation, 2025

    Permeating Art & Science Collaboration

    Alexander Refsum Jensenius

    Panel discussion with Robertina Šebjanič, Anetta Mona Chişa, Alexander Refsum Jensenius. Moderated by Benedetta D'Ettorre. This panel examines the boundary zones where artistic and scientific approaches intersect, entangle, and permeate into one another. Bringing together practitioners working across more-than-human ecologies, technological imaginaries, and embodied research, the conversation will explore how meaningful collaboration can emerge from inter- and trans-disciplinary exchange. Rather than framing art and science as opposites, we ask how their methods can become mutually generative; how artistic mindsets can expand scientific inquiry, and how scientific perspectives can deepen artistic experimentation. The session aims to discuss questions related to collaborative ethics, shared vocabularies, and the value of embracing “noise” as a catalyst for new forms of knowledge-making.

Letter to the editor

Media

  11. Radio or TV, 2026

    Live frå Aulaen: Musikk-spesial

    Kjersti Anderdal Bakken; Alexander Refsum Jensenius; Tine Thing Helseth; Ragnhild Schiager Folkestad

    Mase på folk om å danse sjølv om dei ikkje vil? Ja, - eller nei takk til KI-musikk? Skal 12-åringen få vite at han syng falskt? Og: Satse på musikken - eller safe? Med Tine Thing Helseth, Alexander Jensenius og Ragnhild Folkestad. Programleiar Kjersti Anderdal Bakken.

  14. Interview, 2025

    Kan musikk skape fred?

    Alexander Refsum Jensenius

    I kveld var en rekke personligheter fra musikkmiljøet samlet til debatt ved Universitetet i Oslo. Temaet var «Kan musikk skape fred?». Blant deltakerne var Birgitte Grimstad og Lars Klevstrand , som har underholdt med musikk i flere tiår. Debatten ble ledet av blant annet professor i musikkvitenskap ved UiO, Alexander Refsum Jensenius.

  16. Interview, 2025

    Eierskap til KI

    Leif Henrik Hoøen; Alexander Refsum Jensenius

    Et stort, nytt forskningssenter er bevilget 173 millioner. Det skal undersøke skjæringspunktet mellom kunstig intelligens (KI) og kreativitet, blant annet ved å se på bruk av KI i kunstneriske prosesser.

Music performance

  1. Music performance, 2026

    Atomspheres

    Budhaditya Chattopadhyay

    Atomspheres is a series of performances on elemental listening engagement and meditative environmental attunement, leading to a participatory performance with the co-listeners. The performances attune to the macro-scale crises of the climate and ecology in a planetary context and bridges its intersection with micro-level coping strategies to the crises in a regenerative gathering. The performances resonate with the tradition of free improvisation as well as communal and participatory sonic gatherings for affective and discursive engagement with crises and conflict, practiced in many Global Souths cultures. These performance gatherings involve field recordings of climate variables like wind, water, and woods, comprovised by chance generative processes, accompanied by radio interferences transducing situated weather patterns, weaved together by meditative instrumental interventions of traditional instruments, as well as live electronics and algorithmic interpretation of data and assemblages embracing free improvisational techniques and ethos. As an invocation, the series invites the co-listeners into an exercise of slow listening and slow breathing that try to suspend time, control, ego, and individuality to tap into a humbler mode of fatalism and a distributed self-hood. This philosophical positioning stresses the subjugation of events or actions to fate or destiny and is commonly associated with an attitude of acceptance in the face of future events, which are thought to be inevitable. This approach manifests into yielding control by an emergent form of togetherness, intersubjectivity, and kinship when listening transcends an overt causality, and the psychosomatic condition embraces slow breathing to contemplate, and affective attunement. The project is inspired by the micro-level entanglements of human, more-than-human, and other life forms in a survival context, and explores sensory transduction of environmental conditions to figure how to make them post-immersive and attuning experiences in an openly circular, collaborative performance setting.