The Kromosomer Project

This article is a reflection on the Kromosomer project, a storytell- ing performance held in the physical world and implemented through digital, virtual and social media. The motto was the traditional Norwegian legend characters that represent “the other”, the not “normal”. They were illustrated as avatars in the metaverse, where they were also distributed as unfinished arte- facts, open to mutation. We will describe and analyze the main work method used on this project, a shared creative process of collective and distributed creativity. We will also focus on how metaphors constitute them- selves as paramount to our way of working.info:eu-repo/semantics/publishedVersio

Kromosomer - an experience in shared creative work and expression

This article is a reflection on the Kromosomer project, a storytelling performance held in both physical and virtual worlds, which was implemented and disseminated through digital, virtual and social media. The aim of the whole project was to search for an expression that could combine physical experience with virtual world. The project was also looking at how to deal with social inclusion. The motto for this enterprise was the traditional Norwegian legend characters who represent “the other,” the “not-normal,” as a pretext to address the question of alterity. These legends’ characters were re-created as avatars in the metaverse, where they were also freely distributed in virtual installations as unfinished artifacts, open to mutation. In the Second Life virtual world, participants could pick up avatars and create their own stories through snapshots, machinima, etc. The physical performance later used these participants/produsers’ interpretations and narratives of the avatars in stage design and in the storytelling performance itself. We describe and analyse the main work method used for this project — a shared creative process of collective and distributed creativity. The project encompasses different forms of expression therefore we will also focus on how metaphors constitute themselves as paramount to our way of workin

The story of Volund: a translation from the oral to the visual

The story of Volund from Norse poetry was the foundation of a large scaled installation in the spring of 2014 in the online virtual world of Second Life®. The installation was created in collaboration between a storyteller and a visual designer, who are also the authors of this text. This article will discuss how the principles of oral storytelling, agency and presence were woven together to bring about a ‘story-world’ in which visitors was able to become both protagonist and storyteller through various means and devices that were put at their disposal. This process – both the theoretical considerations that played a role during the formulation of the project, as well as the strategies employed during its building – will be examined through a literature review encompassing oral storytelling and its performative aspects, the extension of these into virtual environments, Joseph Campbell’s Hero with a Thousand Faces, and a discussion of the myth of Volund himself

Hva er meningen? – Momenter av nærvær i et kunstnerisk utviklingsarbeid

Denne artikkelen søker å forstå hva mening er i et kunstnerisk utviklingsarbeid. Videre ønsker artikkelen å bidra til en diskurs knyttet til dagens fortelleres arbeidsmetode mot et scenisk uttrykk. Det kunstneriske utviklingsarbeidet «23.27» var en musikalsk fortellerforestilling hvor en autobiografisk fortelling om «da Daniel døde» ble formidlet sammen med den norrøne myten om Balders død. Det metodiske arbeidet mot en forestilling befinner seg i gråsoner mellom hva som er en kunstnerisk prosess, hva som er det endelig produktet og hva som er kunstnerisk utviklingsarbeid. Artikkelen drøfter og skisserer deler av en prosess med fokus på nærvær mot en fortellerforestilling, der det settes opp ulike temaer for å forstå begrepet mening i lys av kunstnerisk utviklingsarbeid. Artikkelen ser også på nærværets betydning i forhold til å forstå mening

Hva er meningen? – Momenter av nærvær i et kunstnerisk utviklingsarbeid

This article seeks to explore issues of meaning is in an artistic research project. The intention is to contribute to a discourse related to methods in the development of a storytelling performance. The artistic work with the title "23.27" was a musical storytelling performance in which an autobiographical story about "when Daniel died" was juxtaposed and mixed with the Norse myth of Balder's death. The methodical work towards the performance involved blurring the lines between the artistic process and the artistic research involved. The article discusses and outlines parts of a process towards a performance with a particular focus on presence, where various topics are set up to understand what the term meaning is in light of artistic research. The article also looks at the importance of presence in the understanding of meaning.Denne artikkelen søker å forstå hva mening er i et kunstnerisk utviklingsarbeid. Videre ønsker artikkelen å bidra til en diskurs knyttet til dagens fortelleres arbeidsmetode mot et scenisk uttrykk. Det kunstneriske utviklingsarbeidet «23.27» var en musikalsk fortellerforestilling hvor en autobiografisk fortelling om «da Daniel døde» ble formidlet sammen med den norrøne myten om Balders død. Det metodiske arbeidet mot en forestilling befinner seg i gråsoner mellom hva som er en kunstnerisk prosess, hva som er det endelig produktet og hva som er kunstnerisk utviklingsarbeid. Artikkelen drøfter og skisserer deler av en prosess med fokus på nærvær mot en fortellerforestilling, der det settes opp ulike temaer for å forstå begrepet mening i lys av kunstnerisk utviklingsarbeid. Artikkelen ser også på nærværets betydning i forhold til å forstå mening

The tower and the quest: a storytelling space for avatars

In this article, we discuss a project that was co-authored by a storyteller and a visual artist in the metaverse of Second Life in 2009. The aim of the project was to create a storytelling space that would be used by its visitors to create their own unique narratives, as well as their own original performances, all of which would take their trajectories by being immersed in a virtual architecture/landscape, through avatar costumes and a substantial library of dramatic poses and animations that were put at their disposal by the authors at the location of the event. The project wove together several concepts: these are Roy Ascott’s tenets of ‘distributed authorship’ and ‘participatory poesis’, which were brought together with a term that was coined by Axel Bruns to describe novel collaborative electronic forms of creative output in which the roles of the ‘user’ and the ‘producer’ have become merged, manifesting as a novel type of online behaviour that the author defines as ‘Produsage’. These primary concepts were substantiated by research that combined the fields of performance art, storytelling, memory arts and the usage of mnemonic devices, including the Renaissance notion of the ‘memory theatre’ with Cyberpsychology, particularly in relation to avatar studies

The Third Site: Blending Polyphonic Methodology and Epistemology

This article discusses how art and academia can intervene in what the authors call the third site. The authors’ common ground lies in an interest in artistic encounters between people where art and academia bring new discoveries on both the personal and the professional level. The core of this article is the lecture performance in which the authors explore boundaries of the personal, academia and art. By using artistic, art-based, and scientific approaches, they explore how established positions in art and academia can blend polyphonic methodology and epistemology. In their performative writing they use this artistic competence as their starting point, using performativity as an active event that produces representations of lived lives, the production of existential empiricism. Their endeavour is to illuminate value-related and new questions through art making and establish an epistemological and methodological basis for working with art and academia. The authors believe that the blurring of borders between art and academia contributes to epistemological and methodological pluralism. Through artistic experiences, academia becomes vital and varied, creating a diversity of ways in which knowledge and the meaning of life can be represented.This article discusses how art and academia can intervene in what the authors call the third site. The authors’ common ground lies in an interest in artistic encounters between people where art and academia bring new discoveries on both the personal and the professional level. The core of this article is the lecture performance in which the authors explore boundaries of the personal, academia and art. By using artistic, art-based, and scientific approaches, they explore how established positions in art and academia can blend polyphonic methodology and epistemology. In their performative writing they use this artistic competence as their starting point, using performativity as an active event that produces representations of lived lives, the production of existential empiricism. Their endeavour is to illuminate value-related and new questions through art making and establish an epistemological and methodological basis for working with art and academia. The authors believe that the blurring of borders between art and academia contributes to epistemological and methodological pluralism. Through artistic experiences, academia becomes vital and varied, creating a diversity of ways in which knowledge and the meaning of life can be represented

Med hvilken rett blir din sigøynerhistorie min fortelling? Om innsamlings- og fortolkningsproblematikk

Artikkelen utforsker hvilke fortellinger vi velger å fortelle om andre, og med hvilken rett andres narrativer blir fortellerens eget materiale. Vi diskuterer derfor selve innsamlings - og fortolkningsproblematikken som inngår i et kunstdidaktisk arbeid når man både er forsker, fasilitator og forteller i et prosjekt som omhandler marginale og sårbare grupper i samfunnet. Artikkelen bygger på produksjonen «Romfolk – et folk i veien» som ble spilt under Festspillene i Nord - Norge. Hensikten med produksjonen var å skape en forestilling basert på sigøyneres tradisjonsfortellinger og beretninger om hvem sigøynere selv opplever at de er. Fortellingene og innsikten de rumenske informantene bidro med, ble av artikkelforfattern e fortolket som immateriell kulturarv og formidlet gjennom å anvende teater som ledd i en anti - stigmatiseringsprosess mot romfol

Med hvilken rett blir din sigøynerhistorie min fortelling? Om innsamlings- og fortolkningsproblematikk

The article explores the stories we choose to tell about others and with what right other people's stories becomes the storyteller's own material. The article discusses the actual collection and interpretation issues when one both is a researcher, facilitator and a storyteller in a project that deals with marginality and vulnerable groups in the community. The ethnographic study article based on the preservation of intangible cultural heritage, generated stories collected from to the gypsies to a storytelling performance "Romfolk-et folk i veien." The purpose of the study was to gather traditional tales, gain insight into representations, expressions and knowledge of who the Gypsies themselves find that they are.Artikkelen utforsker hvilke fortellinger vi velger å fortelle om andre, og med hvilken rett andres narrativer blir fortellerens eget materiale. Vi diskuterer derfor selve innsamlings- og fortolkningsproblematikken som inngår i et kunstdidaktisk arbeid når man både er forsker, fasilitator og forteller i et prosjekt som omhandler marginale og sårbare grupper i samfunnet. Artikkelen bygger på produksjonen «Romfolk – et folk i veien» som ble spilt under Festspillene i Nord-Norge. Hensikten med produksjonen var å skape en forestilling basert på sigøyneres tradisjonsfortellinger og beretninger om hvem sigøynere selv opplever at de er. Fortellingene og innsikten de rumenske informantene bidro med, ble av artikkelforfatterne fortolket som immateriell kulturarv og formidlet gjennom å anvende teater som ledd i en anti-stigmatiseringsprosess mot romfolk