Kristians hjertesukk

Resultatet av workshopen “Siting choreography in the landscape”, ble for min del en videodokumentasjon av Skur 28 (hvor vi har hatt residens) med et action kamera. Jeg har dokumentert rommene i huset gjennom bevegelse og dans, samt brukt “foundobjects” til å skrive spørsmål knyttet til koreografi som et utvidet begrep. Lydbildet som oppstår ved bruk av toalettet i Skur 28 er også dokumentert og lagt til filmen.

God fornøyelse



Stay whit me

Shed 28 is surrounded with many people passingby between a huge stonewall and ocean , these are framed by the windows on my left and right side. People walking along this path create a pattern, which consequently and naturally grabs my attention at first and then creates the comfort of familiarity.Sometimes they look at me and smile, some fix their hair and some make a strange face as if they are in front of a mirror.Days pass by and they feel more than ever familiar to me and I allow myself to go out, take advantage and ask;can I borrow your shadow for 5 second ?
It seems they don’t remember me.
 That´s mean, the same way as strangers are mean, not remembering me.
 Or they are scared since in greek, “shadow” was one of the metaphors for the psyche, the soul. A dead person’s soul was compared to a shadow, and Hades was the land of shadows, the land of death.


 A choreographic task

Try this alone and with a partner. It is not a bad idea to repeat this exercise five times in one day. You may find out that the answers change and that most time they will, in some respect, surprise you.

For this exercise you need to go out of your room in a sunny day with your water bottle, find an asphalt surface. When you arrive, you have only one thing to deal with, your own shadow. Use the bottle to draw a line around your shadow with water (avoid changing the shape of your shadow).
When you get comfortable with this, start to draw each other’s shadow (in case of not having a partner; ask people passing by).

Here you can see some documentation from my praxis

drawing other's shadow



FullSizeRender 2



Translating Landscapes2



Translating Landscapes – Project Morse and Siting Translations

a research project / working presentation by Shi Pratt and Simen Korsmo Robertsen

– a part of Siting Landscapes – ALONE TOGETHER –

 MA Choreography KHiO 2016



This collaborative project researches the translation process of found elements and the deconstruction of the components that create the landscape. Connecting to the historical aspect of the ever changing landscape of Oslo harbor, we primarily began working by regarding the Morse Code patterns displayed along the harbor walkway. While working on the project we developed a method of appropriating structures from another time to fit the digital media of today.

We looked into the littoral landscape we were working in, the meeting point of land and water, by observing the different public and historical spaces, both seen and unseen, by framing, zooming in and zooming out, through delicate investigation in sound and visual walks, recordings of sound and visuals and the perception of the ever flowing number of locals, workers and tourists.

These two videos encompasses a number of elements we encountered and researched during this process. Further bellow we will present insight into our process; working site-specific on location and site specific on this webpage. You will be presented with thoughts, sketches for choreographic scores, sound, video, quotes, historic facts and unsolvable tasks. Enjoy.











morse transmitter

A little bit about Morse Code before we begin:

The coded communication system was created in 1836 by the American artist Samuel F. B. Morse. After his wife’s death he was frustrated with the slow communication systems of that era and set out to create a faster one with the help of American physicist Joseph Henry, and Alfred Vail – together they developed an electrical telegraph system. This system sent pulses of electric current along wires which controlled an electromagnet that was located at the receiving end of the telegraph system. A code was needed to transmit natural language using only these pulses, and the silence between them. This means that signals (sound or light pulses) can be communicated audibly by telegraph or visually at night with the blink of a light from a lamp. Morse therefore developed the forerunner to modern International Morse code.


The Morse Poem

Inspired by the landscape around SKUR 28, we went up to Akershus Festning which overlooks the area. We wrote down the morse code patterns that surround the area and generated a new script out of the found codes. This scripture was put into the form of a poem, which in morse code looks like this:




and sounds like this:


This poem was transcribed and interpreted through a variety of digital mediums. As the human brain encodes information to meaning, we challenged different technological tools to find new meaning out of the original morse pattern. The words were translated into sonic morse-signal (above), to midi-signals, to rythm-patterns, to visual effects on video documentation, to cross word puzzles and more. By this process we could interact with the poem without being able to predict the auditive and visual outcome, and in this way comment on the everyday findings in the harbor area.


These short clips are auditive results based on the morse code poem adapted and progressed digitally:


poem-morseCrossword Poem

After working on the translation of the Morse Poem into new forms and mediums, we considered what other borrowed structures could we apply this poem into? We came up with the idea of using another form of literal encryption in the form of a word game – the crossword puzzle. The first crossword puzzle came out in 1913 and was created by journalist named Arthur Wynne from Liverpool. This picture is part of our adaptation process of Wynnes structure.



Seen and Unseen, Heard and Unheard

On one of our visual walks we specifically explored spaces that are seen and unseen, hidden and revealed around the Oslo Harbor.

Such as in the meeting between land and sea:

During this particular visual walk we had a waterproof camera in our possession and by using it as a probe we could explore spaces that are otherwise hidden from us on our everyday encounters with these spaces.

We used our underwater/overwater video recordings to present another translation of our Morse Code poem, this time both visual and sonic. In this video we implemented our underwater findings with our morse code poem:

We worked on another translation this time adding dance, choreography and composition to our underwater morse code research:

And a final adaptation:



A visit to Christian Radich docked at Oslo Harbor

Sail boat
We were incredibly eager to learn more about the Morse Code communication system; is it still in use today? What did the apparatus onboard a ship look like? Would we be able to see it in action? So we set off to explore the beautiful 1937 full-rigged three-masted steel hull sailing ship, known as Christian Radich. After a short introduction on the boat with Svein, we were shown into the dining area where we met the communications officer of the boat. There were rumors amongst the skippers that they had the old morse code box locked away, once used for communication but now discarded and considered outdated. Currently they use a specialized morse lamp which allows for short and long flashes of light using the same Morse Code system of dashes and dots to produce light signals.

Bellow is an example of morse code using a lamp from an Anime movie:

Our meeting with Bengt Malm

While on the Christian Radich we were informed about Bengt Malm, an ex Swedish military man who has worked with maritime communication, which includes morse code, for over 35 years. We got in touch with him and he invited us to the Maritime Museum, where he now volunteers. We had an incredible meeting with this extremely knowledgeable and charming man.

Bellow is a short documentation film of our time with him:



Bengt Malm reading part from the poem at SS “Christian Radich” with a signal lamp:

Sound Walk

gressholmenmapA sound walk is all about listening. Take a walk, listen and experience the sonic environment around you. According to sound artist Hildegar Westerkamp, soundwalking is “… any excursion whose main purpose is listening to the environment. It is exposing our ears to every sound around us no matter where we are.” Questions you can ask yourself during a sound walk: Which sound source is closest to you? How does your body sound? Which ambient sounds can you hear? Any rhythmical sounds? Moving sound sources? How does the sounds effect each other?


During our sound walk on Gressholmen we recorded underwater and overwater sounds on the island. We later compiled them, restructured and manipulated the sound to create a new soundscape for the island. We presented them at SKUR 28 through different speakers and directional arrangements in the space. Bellow are two of our compilations.

This recording was done using a field recorder as well as an underwater mic. Recordings were taken under and above water, as well as inside of an anthill.


Visual walks in and around Oslo Harbor

A visual walk is a walk in which you take in your surroundings, identify the structures and spaces around you. Similar to a sound walk, begin to identify the qualities of the visual spaces surrounding you.





During our visual walks around Oslo Harbor we identified the different qualities of spaces created by landmarks, architecture, monuments and the meeting between land and sea. We discovered and explored the aspects of seen and unseen, over and under, heard and unheard in relation to the spaces we visited, mostly staying along the waterline along the harbor area.




“You can never visit the same place twice”







We hope you enjoyed our project,MorsePortrett

… …. .. / .- -. -.. / … .. — . -.


Credits, thanks and acknowledgement: 

Bengt Malm, Yoav David, Kyrre Heldal Karlsen, Per Platou, Amanda Steggell, Skuta Christian Radich, Kristian Støvind.

Harbour Foxtrot


Made for headphones!

The Harbour Foxtrot is a sort of documentation of some time spent both performing and observing an area, things found there, conversations and reflections. I am trying to “choreograph a podcast”. The main character is the gramophone Columbia Grafonola 201 found along with stacks of old 78 records in the library of The Maritime Cultural Heritage Centre, Akershusstranda, Oslo. As it happens, a lot of the cruise ship tourists passing me by on their way to the centre, are the age that they remember this type of gramophone from their childhood.

Among the records, foxtrot music prevails. And we imagine dance parties in the harbour long ago.


Karen Eide Bøen

The Walk Walk

One hour writing about The Walk Walk

I am now going to write for one hour and try to say something about my little project and about my process of it. I find it a bit hard to start, so bare with me. I just have to make my fingers run over the key board. Like making a little dance so I can keep on going with my writing.

When I started this project I didn’t know were to start. But the first day of this workshop Siting choreography in the landscape, we did a sound walk and I really liked that. So I thought I should start with something easy. I will do walking as a starting point for my project, I decided. So I have walked. Quite a lot actually. I don’t have the exact number, but I guess that is not so important.

My first walk alone was a kind of sound walk but it also became something else. It became…well, yes, a walk. It is something nice about walking. I am not sure what, or yes I do know but my thoughts are running wild now, so I just have to keep on going and then I will be right on track again. Yes. The walking is good for many things actually: it is nice to be outside, it is fulfilling to do an activity and walking really makes thoughts emerge (even though they seem to disappear as fast as the come) Such a shame! Because I really had this genius thoughts during my walks, or at least I thought so.

And no my fingers can not go as fast as my head, so now I just have to keep writing and then I will get back to you again. It is really difficult this writing, especially when I know I am going to share this with you tomorrow. This is a rule I made for my work so I have to. I also made rules for my walks. But I broke them all the time. Several times I made a rule that I was going to think of the walk as a performance. I think I did that to justify that I was just walking. It really didn’t feel like work. But when I think about it now, why should it feel like work, working?

This performing the walk didn’t give me much anyway. I got stiff. Everything got stiff, also my thoughts. I was then only thinking: I am performing, I am performing, I am performing. But now I remember something funny happening while I was performing. There is a stage situated, kind of in the middle of the fortress area (oh, I forgot to say that; all my walks, minus one, took place on the grounds of Akershus Fortess) But back to the story. One day I went on this stage. It was raining. A lot. So I had an umbrella in my hand. I entered the stage. Walking kind of slowly (that was another rule) and I stopped in the front in the middle of the stage. And I just stood there for a while performing. I didn’t know what I was performing, but I just pretended that I knew. And people were stopping to see the performance. They even took pictures. And when I think about it, those pictures are the only pictures of me walking (not walking, but standing in my walk).

Because, that was another rule I made for my walk. I did not want the walk to be documented by someone else but my self. Then it would have been about documenting a walk. And for me that is something else. Then I really would have started performing, I think. And The Walk Walk is not about performing. It is about walking. It is about opening up for something to happen. Who knows what The Walk Walk could have turned into if I continued for four more weeks. But, I must admit,I have been shooting 2 videos my self. One video lasts for an hour. I just held my phone in my hand when I did my walk. And of course the fact that I was filming drew my attention almost the hole way. There was another aspect of this walk that also took my attention. I am not going to go very much into that. But on this day there were some fancy happening in the castle with some fancy people needing protection from the police and the army, so this day wasn’t the best day I could have chosen for my documentation…but…since this is pretty much what I have of visual material I have made a little music video out of it. I don’t think it is great, but it is a bit cute. So here it is:

There was something I was thinking of with these horses you see in the end. I remember I was thinking of choreography when I saw them. Partly because a friend of mine recently told me about an artist, which name I cant remember, that had done a choreography with horses and masses of people (I haven’t watched it on youtube yet, so I can’t share more about this now) and partly because at this moment I think I understood something about siting choreography in the landscape. In the beginning of the project I couldn’t nail our working title. Aaaah…this is difficult to explain. I have some writing about this that I did two days ago…I will copy and paste it here when my hour is done.

This is from my Tuesday writing, copy and paste:

Yesterday there were to horses on the fortress. It was two police officers riding them. I remember that I was trying to think of them making a duet. Or they actually were. And I think they kind of was trying to do so. I guess they had this agreement that they would go together and I guess there were rules they had to follow. But is that all there is to choreography? Or is that just what it takes to notice choreography in the landscape? Or is it that when I notice choreography it is me siting it. I decide that this I choreography in the landscape. But if it is as easy as that, then I have to come to the conclusion that everything is choreography in some way. This I don’t find too interesting. It is kind of too easy. But of course I could make choreography out of it, and then I mean art. It is not art until I say it is. Then it is just two horses strolling around in a park. I have to situate it somehow. And I did not do that. I was just watching two horses doing their job. I can notice choreography in the landscape, but it doesn’t do much if I don’t situate it in some way. (I know I am repeating my self several times here)

This reminds me that I might say something more about my methods of working and how I link choreography in to the walking. This is also difficult…but come on keep on writing, something will come, just think about what you said earlier to day, I think it was a bit smart. Omg, I can not say that. But I had to write what I was thinking. Why do I do this!!!!

Methods. I walk with choreography in my mind and a try to apply some of my choreographing thougths and rules/premises in to the walking. How can walking become choreography, or maybe not become choreography, because it already is choreography. I walk in patterns, I am in space/landscape, I do it over time, I do it as a daily practice. But is this all there is to this? I don’t think so. Maybe I have to come back to this if my writing would let me.

I know what just happened here. I started something and then I got this idea about how or what is was going to be and then everything got just all stiff and…….unclear. And that is happening to me a lot. I can´t make choices too early. I have to find the right moment to do so. It is all about timing. Process is about timing in the same way as timing is important in performing. To listen for the right moment to produce or let something happen. And that is also some key words for me. TO LET SOMETHING HAPPEN. I can not always make something happen. I have to put my self in to frames so I can let the choreography happen. (I have no idea how I will think about this tomorrow. It is late at night now) I make excuses now because I think I mean this and then I am afraid that someone will use this against me or something.

I have to go in another direction now. For both your sake and my own. I am thinking of my list I wrote the other day. Trying to sum up things I remembered for my walks. I think I will share them with you.

  • I remember a guy who seemed to be strolling. He did not have so much hair. He had an Iphone in his right hand and he was doing a little dance with it. I remember him sitting down on a bench on top of the fortress area and I remember that our paths met several times. In the end I started to stalk him, or I pretended it was that I was doing. So I guess with did a little dance together.
  • I remember wishing that I had a purple cape and a purple wig as a kind of costume. And then I would have been this strange character walking very slowly through the landscape. It would have been like if I was floating. I imagine it as something a bit beautiful.
  • I remember that every time I came to this place where there is always standing a guard I got a bit afraid. Not afraid of him, but afraid that I would offend him for some reason. I was always trying to remember how the guard from last day looked like, but I couldn’t. So then in my head, it was always the same guard every day.
  • I remember the day when it rained a lot. I walked with an umbrella in my hand and this was the first time I entered the stage that I build in this area. I just stood there in the middle in the front. And this was the only time I got documented (or at least that I know of). (I have already told you this)
  • I remember the day when there were all these security people in the fortress. It made me scared. I was walking with my camera on and I was afraid that the would find my activity threatening and shoot me or something (I really don’t like when the police is equipped with guns. It makes me paranoid)
  • I remember my first walk. I remember I saw a person I know and I remember that I didn’t want to talk to that person, so I pretended that I didn’t see him/her. It was a sunny day.
  • I remember a woman being photographed. She was with two friends or relatives. Anyway, she was posing on a bridge and her friend/relative was telling her how to pose and she was told to pose with her right foot crossed over her left. Smiling of course.
  • I remember the parents helping their toddler to climb some stairs that led to a closed door. I remember that the mother had a yellow raincoat (this one is in the video, maybe I remember it from there)

I remember one more thing I will write for you today:

  • I remember the second walk I did. It was not on the grounds of the fortress, it was on Tjuvholmen. I walked there and then I lay down beside the little beach there. I felt watched. And I remember documenting some thoughts on my phone. (I will listen to them when I am done writing)

I really have no idea about the time. I wish I was almost there, but I am afraid I am not. I remember the end of one walk, maybe it was three days ago, and I was thinking: at least I am getting better to feel time. I know pretty well how long an hour is, I can really feel it coming to an end now. But then I realised that it is not so difficult when the city hall watch is ding-donging every fifteen minutes. So I guess that wasn’t so hard to be good at in this landscape.

Now I continue writing just because my time is not up yet. I wish it were. I feel done now, just as I did walking. One hour is enough. It is long, but still not that long. I have to push my self the last minute to not let my thoughts go in any direction.

The bell is ringing. Thank you.

Mind, the gap

MTG_TAKASHIMind, the gap. Synaesthesia and contemporary live art practice
Amanda Steggell 2015

Research exposition commissioned by the Norwegian Artistic Research Programme.

Published in Research Catalogue – an international database for artistic research

About this exposition
Misuse can mean the crossing of wires, both literally or figuratively. “Mind, the Gap” (2005-07) is a practice-based research project dedicated to the development of collaborative, interdisciplinary, performative live artworks that are influenced by the notion of synaesthesia – the cross wiring of sensory perceptions. It was conducted within the framework of the Norwegian Artistic Fellowship Programme (previously called the National Programme for Research Fellowships in the Arts). The documentation of the project has been reconfigured for the purposes of the Research Catalogue. Apart from some small adjustments, the content remains the same as it was in 2007.

Exhibiting Choreography

Speaking&building-bildeExhibiting Choreography – exploring transmission across disciplines and discourses
Eva Cecilie Richardsen

Norwegian Artistic Fellowship Programme
Start: 2011
Completion: 2016

Project summary
The project has evolved from questions on how to translate modes of production and display from one artistic domain into another in order to break with the divisive split between dance and visual art. Through its interdisciplinary approach, by mirroring the execution of time, form and conditions of an exhibition – the project invites us to look at the possibility of new beginnings, not as the right solution, but as a part of the process. The object is to renegotiate the potentiality of the performance as event and art object. Looking at choreography through the lens of visual art has been a strategy with an aim to propose a different way of approaching – another way of knowing – that is not about the work itself, but about the ramification of things.