Alexander Refsum Jensenius

Sensing Sound and Music (e-book, 2026)

A textbook for MUS2640 Sensing Sound and Music at the University of Oslo, a foundation course for later studies in music psychology and music technology. It introduces how musical sound is produced in the world, represented technologically, and experienced in body and mind.

Sonic Design - Explorations Between Art and Science (Springer 2024)

This edited volume draws on contributions from an international seminar organised in May 2022 to celebrate Professor Godøy's achievements upon his retirement from the University of Oslo. The 17 chapters cover different approaches to sonic design practice and theory, providing historical context and an overview of the current state of both artistic and scientific research in the field.

Sound Actions: Conceptualizing Musical Instruments (MIT Press, 2022)

What is a musical instrument? How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? The answers to these pivotal questions lie at the meeting point of interactive music technology and embodied music cognition, what author Alexander Refsum Jensenius calls “embodied music technology.” Moving between objective description and subjective narrative of his own musical experiences, Jensenius explores why music makes people move, how the human body can be used in musical interaction, and how new technologies allow for active musical experiences. He shows that new music technologies have fundamentally changed how music is performed and perceived.

Motion Capture: The Art of Studying Human Activity (FutureLearn, 2022)

This online course from the University of Oslo is for everyone interested in human motion capture. You’ll start by learning the basics of human anatomy and biomechanics. Then we’ll move on to setting up, calibrating, and recording with an infrared optical motion capture system. We'll also cover other sensing technologies, including accelerometers, muscle sensors, and video recordings. Examples will show how such systems are used in various types of music research. Finally, you’ll learn about some ethical and legal challenges of working with human motion capture.

A NIME Reader: Fifteen Years of New Interfaces for Musical Expression (Springer, 2017)

What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen-year-long history of the International Conference on New Interfaces for Musical Expression (NIME). Each paper is followed by commentaries from the original authors and leading experts. The anthology is intended for newcomers seeking an overview of recent advances in music technology. The historical traces, meta-discussions, and reflections will also interest experts. Thus, the book surveys influential past work and offers a starting point for new and exciting future developments.

Music Moves: Why Does Music Make You Move? (FutureLearn, 2016)

This free online course is about music and body movement, from the pianist's sound-producing keyboard actions to clubbers' energetic dance moves. You will learn the theoretical foundations of embodied music cognition and why body movement is crucial to how we experience the emotional moods in music. We will also explore different research, including advanced motion capture systems and sound analysis methods. A group of music researchers from the University of Oslo will guide you, with musical examples from four professional musicians.

Musikk og bevegelse (Unipub, 2009):

Denne boken gir en helhetlig presentasjon av hvordan vi kan forstå musikkrelaterte bevegelser. Forfatteren viser hvordan man kan studere slike bevegelser med utgangspunkt i et tverrfaglig teoretisk grunnlag. Det gis en innføring i både kvalitative og kvantitative metoder som brukes i forskning innenfor feltet. Eksempler er hentet fra studier av musikere, dansere og folk som beveger seg til musikk. Boken viser hvordan kropp og bevegelse er en naturlig del av musikkopplevelsen, og det argumenteres for et større fokus på musikkrelaterte bevegelser i forskning og undervisning.

• Enrique Encinas, Andrew Morrison, Alexander Refsum Jensenius, Markéta Dolejšová & John Hill (2026). Rhythm and Residue: Vyping as Prompting Inside the Post-Discursive Interface. I Laura Havinen & Susanne Hägglund (Red.), Adjunct Proceedings of the 14th Nordic Conference on Human-Computer Interaction. Association for Computing Machinery (ACM). ISSN 9798400727986. s. 1–9. doi: 10.1145/3821402.3830167. Fulltekst i vitenarkiv Vis sammendrag

  Prompt engineering strategies emphasise clarity, specificity, and well-structured input, on the assumption that large language models (LLMs) require clean input to interpret user intent. But LLMs are pattern interpolators: they “absorb” noise through statistical reconstruction rather than strict symbol matching. Text-centric HCI has studied this tolerance for two decades without integrating it into prompt engineering as a resource. We introduce vyping as an intentional mode of prompting in which one types into LLMs at the speed of thought, without correction. We developed vyping through sustained first-person inquiry. It can be seen as a micro-practice inside a broader post-discursive turn in which meanings increasingly travel as rhythms and patterns through latent-space proximity rather than as precisely-formed symbols. The mismatch between current LLM interfaces and their (human) users has led to two common layers in implementation: (1) an orthographic residue at the interface (autocorrect, spellcheck, tidy-prompt guides), and (2) an impairment parse shadow at the training layer, a form of overalignment in which the model reads orthographic deviation as a sign that something is wrong with the user. Overall, we offer three attunements (ease, reach, and pulse) as alternatives to efficiency-first prompt engineering, and situate the practice within critical HCI traditions of seamful, frictional, and embodied interaction. The critique is structured around a seed prompt that suspends the impairment parse and makes vyping livable; its section headings are taken from the prompt’s own rules. A copy of the seed prompt is provided at the end.

• Enrique Encinas & Alexander Refsum Jensenius (2026). The Perfect Wrong Note: Vyping and the Keyboard as Musical Interface for Human-LLM Interaction. I Benedict Gaster & João Nogueira Tragtenberg (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. doi: 10.5281/zenodo.20784433. Fulltekst i vitenarkiv Vis sammendrag

  Human interaction with large language models (LLMs) is commonly framed as information exchange, optimized for efficiency and correctness. This paper proposes a different framing: keyboard-as-instrument, where typing to an LLM becomes a form of musical practice. Drawing on the lineage of keyboard instruments, the action-sound framework, and the aesthetics of failure in jazz improvisation and glitch music, the paper introduces vyping (typing without looking) as a technique that treats degraded input as an expressive gesture. When a person vypes, inter-onset intervals and keystroke dynamics carry embodied information that the LLM can integrate, in a process closer to musical comping (responsive accompaniment) than to improvisation proper. Three artifacts (ll00mtube, clix-vibe, and KeyMeter) illustrate this approach, making the temporal and sonic dimensions of typing visible and audible. The paper argues that typos can function as grace notes: productive deviations that open new directions. It proposes reverence (nuance, grace, and respect) as a design orientation for human-AI interaction, while acknowledging the discomfort of caring for a tool entangled with extractive labor and concentrated corporate power.

• Hugh Alexander von Arnim, Finn Upham & Alexander Refsum Jensenius (2026). Exploring Methods for Measuring Audience Body Motion in Concert Halls. I Ivica Ico Bukvic (Red.), Proceedings of the Sound and Music Computing Conference 2026. SMC Network. Fulltekst i vitenarkiv Vis sammendrag

  Measurement of audience members’ body motion in ecological concert settings must navigate environmental constraints, access to audience members, privacy considerations, and behavioural norms of the performance event. This study compares five distinct technologies for capturing motion from “audience member” participants under simulated symphonic concert conditions: visible-range imaging (RGB), near-infrared imaging (IR), thermal imaging, thermal data, and torso-mounted accelerometry. Seven quantity of motion (QoM) time series were generated from these measurements, each cleaned and normalised to reveal similarities and differences in the information they provide regarding four concert-typical behaviours: Large Actions such as posture changes, Applause, Stillness, and Respiration. Results show comparable, though not identical, quantity of motion measurements across devices in this simulated concert setting. We discuss the advantages and disadvantages of the various signals, share recommendations on key measurement parameters, and discuss scaling these motion capture methods for larger audiences in real concert halls.

• Finn Upham, Bilge Serdar Göksülük & Alexander Refsum Jensenius (2026). Laughter in the making: social bonding and coordination in dance practices. Frontiers in Psychology. 17. doi: 10.3389/fpsyg.2026.1754425. Fulltekst i vitenarkiv Vis sammendrag

  Laughter is a ubiquitous human behavior with distinct social functions and evolutionary value. And yet its role in artistic and cultural practices has rarely been investigated, except in explicitly humorous performances. This study highlights laughter's central role in the participatory and developmental phases of dance. Grounded in social function frameworks, we argue that laughter functions as a vital mechanism of layered coordination, supporting group dynamics beyond verbal interaction. Through a multimodal analysis of three distinct dance contexts—an amateur line dancing lesson, a Norwegian folk dancing session, and professional duo improvisations (co-located and remote)—we investigate how and why laughter emerges in real-time creative and learning processes. Using video, physiological (heart rate, core body motion), and phenomenological data, we show that laughter is not a break in action but an integral, embodied tool for coordination development. Our exploratory study demonstrates that laughter serves to acknowledge mistakes, negotiate decisions, express difficulty, and share joyful success in dance. Critically, the quality and shared nature of laughter instances were shaped by the available communication channels, the modalities involved, and the direction of interaction. We conclude that laughter is a powerful, efficient form of embodied communication that helps dancers navigate uncertainty, build interpersonal synchrony, and co-construct shared understanding. These results underscore the importance of studying the evolutionary and social value of artistic practices as lived, co-created experiences beyond their most professional and elite forms.

• Alexander Refsum Jensenius (2026). Sounding Human: Music and Machines, 1740/2020. By Deirdre Loughridge. Music & Letters. ISSN 0027-4224. doi: 10.1093/ml/gcag043. Fulltekst i vitenarkiv Vis sammendrag

  ‘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.

• Bilge Serdar, Aleksander Tidemann & Alexander Refsum Jensenius (2026). Performative Togetherness in networked music–dance performance. International Journal of Performance Arts and Digital Media. ISSN 1479-4713. s. 1–22. doi: 10.1080/14794713.2026.2657654. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Bilge Serdar, Aleksander Tidemann & Alexander Refsum Jensenius (2026). Mixed Method Audio-Video Analyses of Felt Togetherness in a Networked Music-Dance Performance. I Patrice Guyot & Gregoire Bosselut (Red.), MOCO '26: Proceedings of the 10th International Conference on Movement and Computing. Association for Computing Machinery (ACM). ISSN 9798400725005. doi: 10.1145/3802842.3802884. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Hugh Alexander von Arnim, Anna-Maria Christodoulou, Kayla Burnim, Finn Upham, Tejaswinee Kelkar & Alexander Refsum Jensenius (2026). LightHearted—A Framework for Mapping ECG Signals to Light Parameters in Performing Arts. I Anthony L. Brooks (Red.), Proceedings of the 14th EAI International Conference on ArtsIT, Interactivity and Game Creation, ArtsIT 2025. Springer. ISSN 9783032269997. s. 719–738. doi: 10.1007/978-3-032-26999-7_18. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Fadi Al-Ghawanmeh, Alexander Refsum Jensenius & Kamel Smaili (2026). Arab music improvisation corpus for research (AMICOR): development and machine translation experiments | Language Resources and Evaluation. Language Resources and Evaluation. ISSN 1574-020X. 60. doi: 10.1007/s10579-026-09905-z. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Jinyue Guo, Jim Tørresen & Alexander Refsum Jensenius (2026). Investigating Auditory–Visual Perception Using Multi-Modal Neural Networks with the SoundActions Dataset. Transactions of the International Society for Music Information Retrieval. 9(1), s. 85–85. doi: 10.5334/tismir.223. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Maham Riaz, Cagri Erdem & Alexander Refsum Jensenius (2026). Inverse and indirect mappings in embodied AI systems in everyday environments. Frontiers in Computer Science. 7. doi: 10.3389/fcomp.2025.1603769. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Anna-Maria Christodoulou, Hugh Alexander von Arnim & Alexander Refsum Jensenius (2025). Supporting Narrative Comprehension in Programmatic Music through Music and Light. I Angela McArthur, Emma-Kate Matthews & Tom Holberton (Red.), Proceedings of the 17th International Symposium on Computer Music Multidisciplinary Research. The Laboratory PRISM “Perception, Representations, Image, Sound, Music”. ISSN 9791097498061. s. 447–454. doi: 10.5281/zenodo.17496754. Fulltekst i vitenarkiv Vis sammendrag

  Programmatic music, such as Tchaikovsky’s Overture Romeo and Juliet, relies on the audience’s ability to associate musical motifs with narrative elements. This is a demanding task for less experienced listeners, particularly when cues are subtle, such as those conveyed through timbre. This paper explores how dynamic stage lighting, driven by physiological signals, can enhance narrative comprehension in orchestral performance. Using the LightHearted interactive lighting system, different characters of the Overture were mapped to distinct colored lights, whose intensities were dynamically modulated in real time by the heart rates of the conductor and selected musicians. This integration aimed to convey subtle narrative cues to the audience in real time. Audience feedback suggests that this approach not only clarifies musical narratives but also enhances the overall experience.

• Maham Riaz, Jinyue Guo, Cagri Erdem & Alexander Refsum Jensenius (2025). Where to Put That Microphone? A Study of Sound Localization in Ambisonics Recordings. I Angela McArthur, Emma-Kate Matthews & Tom Holberton (Red.), Proceedings of the 17th International Symposium on Computer Music Multidisciplinary Research. The Laboratory PRISM “Perception, Representations, Image, Sound, Music”. ISSN 9791097498061. s. 455–466. doi: 10.5281/ZENODO.17497086. Fulltekst i vitenarkiv Vis sammendrag

  This paper examines the effects of microphone placement on sound localization in first-order Ambisonics recordings. Two microphone setups were used to capture a moving audio source in a lab environment. Array A, a tetrahedral microphone, was placed in the centre of the recording space. Array B consisted of four similar tetrahedral microphones charting a rectangular perimeter surrounding the space. Motion capture data of the moving sound source shows that anglegrams calculated from the Ambisonics recordings can be effectively used for sound localization. An additional perceptual listening study with binaural renders of the audio signals showed that the centrally-placed Array A provided superior localization. However, the corner-placed Array B performed better than expected.

• Jinyue Guo, Jim Tørresen & Alexander Refsum Jensenius (2025). Cross-modal Analysis of Spatial-Temporal Auditory Stimuli and Human Micromotion when Standing Still in Indoor Environments. I Angela McArthur, Emma-Kate Matthews & Tom Holberton (Red.), Proceedings of the 17th International Symposium on Computer Music Multidisciplinary Research. The Laboratory PRISM “Perception, Representations, Image, Sound, Music”. ISSN 9791097498061. s. 871–882. doi: 10.5281/ZENODO.17502603. Fulltekst i vitenarkiv Vis sammendrag

  This paper examines how a soundscape influences human stillness. We are particularly interested in how spatial and temporal features of a soundscape influence human micromotion and swaying patterns. The analysis is based on 345 Ambisonics audio recordings of different indoor environments and corresponding accelerometer data captured at the chest of a person standing still for ten minutes. We calculated the temporal and spatial correlation between the person's quantity of motion and the sound energy of the Ambisonic recordings. While no clear temporal correlations were found, we discovered a correlation between the spatial directionality of the micromotion and the sound direction of arrival. The results suggest a potential entrainment between the directionality of environmental sounds and human swaying patterns, which have not been thoroughly studied previously compared to the temporal or spectral features of indoor soundscapes.

• Balint Laczko, Marie Elisabeth Rognes & Alexander Refsum Jensenius (2025). Image Sonification as Unsupervised Domain Transfer. I Angela McArthur, Emma-Kate Matthews & Tom Holberton (Red.), Proceedings of the 17th International Symposium on Computer Music Multidisciplinary Research. The Laboratory PRISM “Perception, Representations, Image, Sound, Music”. ISSN 9791097498061. s. 596–607. doi: 10.5281/zenodo.17497987. Fulltekst i vitenarkiv Vis sammendrag

  The process of image sonification maps visual features into perceived auditory features. Most established sonification methods rely on identifying salient visual features in the input data and then mapping their distribution to a proportional distribution of auditory features. However, this approach requires both domain expertise and manual feature engineering. Here, we propose a new method of image sonification, leveraging recent advances in representation learning and domain transfer. Our approach introduces a pair of variational auto-encoder models that learn disentangled latent representations of the images and sounds, respectively, and a separate network that maps between these representations. The resulting sonification system encodes images into the latent space and then decodes them as sounds. Both representations and their mapping are learned in an entirely unsupervised manner. When evaluating the system in an interactive real-time setting, we observed that the model successfully learned disentangled representations of image and sound factors in our synthetic datasets.

• Balint Laczko & Alexander Refsum Jensenius (2025). Pixasonics: An Image Sonification Toolbox for Python. I F. Amílcar Cardoso, Paul Vickers, Pedro Martins & Stephen Roddy (Red.), Proceedings of the 30th International Conference on Auditory Display (ICAD 2025). Department of Informatics Engineering, University of Coimbra, Portugal. ISSN 9798991456210. s. 28–35. doi: https:/hdl.handle.net/1853/79958. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Anna-Maria Christodoulou, Kyrre Glette, Olivier Lartillot & Alexander Refsum Jensenius (2025). MusiQAl: A Dataset for Music Question–Answering through Audio–Video Fusion. Transactions of the International Society for Music Information Retrieval. 8(1), s. 265–282. doi: 10.5334/tismir.222. Fulltekst i vitenarkiv Vis sammendrag

  Music question–answering (MQA) is a machine learning task where a computational system analyzes and answers questions about music‑related data. Traditional methods prioritize audio, overlooking visual and embodied aspects crucial to music performance understanding. We introduce MusiQAl, a multimodal dataset of 310 music performance videos and 11,793 human‑annotated question–answer pairs, spanning diverse musical traditions and styles. Grounded in musicology and music psychology, MusiQAl emphasizes multimodal reasoning, causal inference, and cross‑cultural understanding of performer–music interaction. We benchmark AVST and LAVISH architectures on MusiQAI, revealing strengths and limitations, underscoring the importance of integrating multimodal learning and domain expertise to advance MQA and music information retrieval.

• Sara D’Amario & Alexander Refsum Jensenius (2025). Cardiac Coherence among Musicians and Audiences During Orchestra Performances. Music & Science. 8, s. 1–15. doi: 10.1177/20592043251370977. Fulltekst i vitenarkiv Vis sammendrag

  Recent empirical investigations suggest that music performance and perception can evoke a collective cardiac response in performers and audience members, and interpersonal cardiac coupling can be related to musical features. However, the relationship between musicians’ and audiences’ cardiac responses is poorly understood. This study investigates the interpersonal cardiac coherence of selected audience members and performers from the Stavanger Symphony Orchestra and the Norwegian Radio Orchestra during multiple performances of Harald Sæverud’s Kjempeviseslåtten. The cardiac coherence index (CCI) was computed by applying the intrinsic synchrosqueezing transform to the cardiac interbeat interval of each signal, combining noise-assisted multivariate empirical mode decomposition and short-time Fourier transforms. The results show that the CCI values among the audience members were stronger than those of the musicians. Sound pressure level measurements predicted the musicians’ CCI values, whilst musical form structure predicted the audiences’ CCI values. These results advance our understanding of how cardiac rhythms support interpersonal interactions and contribute to research on live orchestra performances.

• Maham Riaz, Jinyue Guo, Bilge Serdar Göksülük & Alexander Refsum Jensenius (2025). Where is That Bird? The Impact of Artificial Birdsong in Public Indoor Environments. I Mariana Seiça & Jordan Wirfs-Brock (Red.), AM '25: Proceedings of the 20th International Audio Mostly Conference. Association for Computing Machinery (ACM). ISSN 9798400720659. s. 344–351. doi: 10.1145/3771594.3771629. Fulltekst i vitenarkiv Vis sammendrag

  This paper explores the effects of nature sounds, specifically bird sounds, on human experience and behavior in indoor public environments. We report on an intervention study where we introduced an interactive sound device to alter the soundscape. Phenomenological observations and a survey showed that participants noticed and engaged with the bird sounds primarily through causal listening; that is, they attempted to identify the sound source. Participants generally responded positively to the bird sounds, appreciating the calmness and surprise it brought to the environment. The analyses revealed that relative loudness was a key factor influencing the experience. A too-high sound level may feel unpleasant, while a too-low sound level makes it unnoticeable due to background noise. These findings highlight the importance of automatic level adjustments and considering acoustic conditions in soundscape interventions. Our study contributes to a broader discourse on sound perception, human interaction with sonic spaces, and the potential of auditory design in public indoor environments.

• Henrik Haraldsen Sveen, Laura Bishop & Alexander Refsum Jensenius (2025). Cyclic Patterns and Spatial Orientations in Artificial Impulsive Autonomous Sensory Meridian Response (ASMR) Sounds. I Mariana Seiça & Jordan Wirfs-Brock (Red.), AM '25: Proceedings of the 20th International Audio Mostly Conference. Association for Computing Machinery (ACM). ISSN 9798400720659. s. 124–131. doi: 10.1145/3771594.3771651. Fulltekst i vitenarkiv Vis sammendrag

  Autonomous Sensory Meridian Response (ASMR) is a tingling sensation in the neck and spine often triggered by specific sounds. This paper reports a study on the impact of different cyclic patterns and spatial orientations—defined here as the perceived directionality and motion of sound sources in a three-dimensional auditory space—on inducing ASMR experiences. The results demonstrate that both the type of cyclic pattern and the spatial orientation significantly influence the intensity and nature of ASMR experiences. Furthermore, the research explores synthesizing ASMR-inducing sounds while preserving key audio characteristics from acoustically recorded ASMR content. Through survey data analysis and regression modeling, distinct patterns emerge regarding the relationship between personality traits and ASMR experience. The findings contribute to a deeper understanding of ASMR as a sensory phenomenon and provide insights into the potential applications of artificially generated ASMR stimuli. Additionally, the research sheds light on the role of spatiality in ASMR experiences and the synthesis of ASMR-inducing sounds for future studies and practical applications

• Maham Riaz, Ioannis Theodoridis, Cagri Erdem & Alexander Refsum Jensenius (2025). VentHackz: Exploring the Musicality of Ventilation Systems. I Doga Cavdir & Florent Berthaut (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. doi: 10.5281/zenodo.15698831. Fulltekst i vitenarkiv Vis sammendrag

  Ventilation systems can be seen as huge examples of interfaces for musical expression, with the potential of merging sound, space, and human interaction. This paper explores conceptual similarities between ventilation systems and wind instruments and explores approaches to “hacking” ventilation systems with components that produce and modify sound. These systems enable the creation of unique sonic and visual experiences by manipulating airflow and making mechanical adjustments. Users can treat ventilation systems as musical interfaces by altering shape, material, and texture or augmenting vents. We call for heightened attention to the sound-making properties of ventilation systems and call for action (#VentHackz) to playfully improve the soundscapes of our indoor environments.

• Maham Riaz, Jinyue Guo & Alexander Refsum Jensenius (2025). Comparing Spatial Audio Recordings from Commercially Available 360-degree Video Cameras. I Anthony L. Brooks, Domna Banakou & Slavica Ceperkovic (Red.), Proceedings of the 13th EAI International Conference on ArtsIT, Interactivity and Game Creation, ArtsIT 2024. Springer. ISSN 9783031972546. s. 160–172. doi: 10.1007/978-3-031-97254-6_12. Fulltekst i vitenarkiv Vis sammendrag

  This paper investigates the spatial audio recording capabilities of various commercially available 360-degree cameras (GoPro MAX, Insta360 X3, Garmin VIRB 360, and Ricoh Theta S). A dedicated ambisonics audio recorder (Zoom H3VR) was used for comparison. Six action sequences were performed around the recording setup, including impulsive and continuous vocal and non-vocal stimuli. The audio streams were extracted from the videos and compared using spectrograms and anglegrams. The anglegrams show adequate localization in ambisonic recordings from the GoPro MAX and Zoom H3VR. All cameras feature undocumented noise reduction and audio enhancement algorithms, use different types of audio compression, and have limited audio export options. This makes it challenging to use the spatial audio data reliably for research purposes.

• Hugh Alexander von Arnim, Cagri Erdem, Ulysse Teller Masao Côté-Allard & Alexander Refsum Jensenius (2025). A Sensor is not a Sensor: Diffracting the Preservation of Sonic Microinteraction with the SiFiBand. I Mariana Seiça & Jordan Wirfs-Brock (Red.), AM '25: Proceedings of the 20th International Audio Mostly Conference. Association for Computing Machinery (ACM). ISSN 9798400720659. s. 318–325. doi: 10.1145/3771594.3771626. Fulltekst i vitenarkiv Vis sammendrag

  This paper documents our exploratory work to preserve the interactive music system Stillness Under Tension—developed to explore inverse sonic microinteraction—by porting it from the original and discontinued Myo sensor armband to SiFiBand, a new prototype armband with motion (IMU) and muscle (EMG) sensors. We approach this by merging the Multilevel Dynamic Preservation model with a “diffraction-in-action” method grounded in a theoretical entanglement perspective. Rather than focusing on the Myo version’s artefactual remains, we explore the difference in data representations offered by the two devices as our point of departure. The paper describes the sensor devices, evaluating their data representations given their technical specifications, and describing how these differences propagate throughout our attempt to preserve the system, enacting necessary changes. We discuss the implications of merging these methods in view of the long-term preservation of interactive music systems. Our version 2.0 of Stillness Under Tension finds itself experientially in a position between familiarity and newness.

• Simon Høffding, Rebecca Josefine Five Bergstrøm, Laura Bishop, Pedro Pablo Lucas Bravo, Kayla Burnim & Carlos Eduardo Cancino-Chacón [Vis alle 28 forfattere av denne artikkelen] (2025). Introducing the MusicLab Copenhagen Dataset. Music & Science. 8. doi: 10.1177/20592043241303288. Fulltekst i vitenarkiv Vis sammendrag

  MusicLab Copenhagen was a unique research concert featuring the world-renowned Danish String Quartet in a naturalistic setting. The audience was split between one group physically located in the hall, another group listening to a radio broadcast, and a third group watching a live stream. Qualitative and quantitative data were captured from both musicians and audiences, resulting in a comprehensive dataset that can be used to address many research questions. This document introduces the dataset, explains its structure, and reflects on the related data collection, storing, publishing, and archiving processes.

• Patrick Georg Grosz, Ragnhild Torvanger Solberg, Jonah Katz, Mai Ha Vu, Alexander Refsum Jensenius & Pritty Patel-Grosz (2025). An outline of the narrative grammar of electronic dance music. Musicae Scientiae. ISSN 1029-8649. 29(4), s. 556–575. doi: 10.1177/10298649251321709. Fulltekst i vitenarkiv Vis sammendrag

  We argue that electronic dance music (EDM) exhibits a parallel structural organization to that which has been proposed for cartoons (comics) after the model of hierarchical structure proposed in theoretical linguistics. According to this parallel, both systems are governed by general cognitive mechanisms for the narrative organization of tension and release, which are not modality-specific. We show that notions from visual narrative analysis, such as an Establisher–Initial–Peak–Release template, can be applied directly to EDM tracks as an Intro/Breakdown–Buildup–Core–Outro/Cut template. In doing so, we focus on how to formally define and operationalize relevant notions such as Breakdown, Buildup, and Core. As part of our analysis, we show that the scene-setting Establisher segments of visual narratives map onto two distinct categories in EDM: they correspond to intro sections at the beginning of a track and to breakdown sections in the middle of a track; we strengthen the analogy to visual narrative analysis by introducing refinements such as a pre-drop break that often occurs at the end of a buildup segment. To adjudicate between competing hypotheses on the hierarchical structure of a given EDM track, we demonstrate that analytical tests from linguistics and visual narrative analysis can be successfully applied. By introducing these analytical tools, this article sets the stage for further explorations in the linguistically informed analysis of the structure and meaning of EDM.

• Alexander Refsum Jensenius (2024). Embodied Musicking Technologies: Inspired by Professor Marc Leman. I Pieter-Jan Maes (Red.), Liber Amicorum Marc Leman: A life in music, science, and technology. Ghent University. Fulltekst i vitenarkiv Vis sammendrag

  In his seminal book “Embodied Music Cognition and Mediation Technology”, Marc Leman Leman (2008a) drew up a theoretical framework that has influenced a whole new generation of researchers, myself included. Building on a long tradition of systematic musicology, combined with ecological psychology and modern technology, he convincingly set the direction for a fresh approach to scientific studies of musical experiences. In the following, I will reflect on some concepts that he raised in his discussion, and I will point out some that he left for others, like me, to explore in more detail.

• Alexander Refsum Jensenius (2024). Musikkopplevelser, kulturbruk og politikk. I Ragnhild Torvanger Solberg (Red.), Tverrfaglege perspektiv på kulturbruk, publikum og deltaking. Kulturrådet. ISSN 9788270812165. s. 87–97. Fulltekst i vitenarkiv Vis sammendrag

  Hvordan brukes kultur i Norge i dag? Som musikkteknolog har jeg mest kompetanse til å reflektere over musikk, men jeg har også noe erfaring med interaktiv dans og installasjonskunst. I tillegg har forskningen min nå dreid seg mot akustikk, lydkunst, visuell estetikk og arkitektur. Sammen dekker dette mange sider av kunst- og kulturområdet, selv om min inngang i denne artikkelen primært vil være fra de to disiplinene musikkpsykologi og musikkteknologi. Innenfor musikkpsykologien forsøker vi å forstå hvordan musikk påvirker mennesker, i kropp og sinn. Musikkteknologien dreier seg derimot om å forstå hvordan verktøy og systemer brukes i musikalske sammenhenger.

• Anna-Maria Christodoulou, Sagar Dutta, Olivier Serge Gabriel Lartillot, Kyrre Glette & Alexander Refsum Jensenius (2024). Exploring Convolutional Neural Network Models for Multimodal Classification of Expressive Piano Performance, Proceedings of the Sound and Music Computing Conference 2024. SMC Network. ISSN 9789893520758. Fulltekst i vitenarkiv Vis sammendrag

  This paper addresses improving performance analysis by automating the recognition of expressive performance styles. We propose a multimodal fusion approach integrating audio, video, and motion data. We demonstrate the effectiveness of our approach by utilizing convolutional neural network (CNN) models. Training is done on a classical piano dataset of 211 excerpts containing audio, video, MIDI, and motion capture data. The results highlight the robustness of the CNN models; they achieve high accuracy even when trained on a limited dataset. Our study contributes to advancing the field of performance analysis by applying deep learning techniques to multimodal data.

• Jinyue Guo, Maham Riaz & Alexander Refsum Jensenius (2024). Comparing Four 360-Degree Cameras for Spatial Video Recording and Analysis, Proceedings of the Sound and Music Computing Conference 2024. SMC Network. ISSN 9789893520758. Fulltekst i vitenarkiv Vis sammendrag

  This paper reports on a desktop investigation and a lab experiment comparing the video recording capabilities of four commercially available 360-degree cameras: GoPro MAX, Insta360 X3, Garmin VIRB 360, and Ricoh Theta S. The four cameras all use different recording formats and settings and have varying video quality and software support. This makes it difficult to conduct analyses and compare between devices. We have implemented new functions in the Musical Gestures Toolbox (MGT) for reading and merging files from the different platforms. Using the capabilities of FFmpeg, we have also made a new function for converting between different 360-degree video projections and formats. This allows (music) researchers to exploit 360-degree video recordings using regular video-based analysis pipelines.

• Balint Laczko & Alexander Refsum Jensenius (2024). Synth Maps: Mapping The Non-Proportional Relationships Between Synthesizer Parameters and Synthesized Sound. I Tim Ziemer, Prithvi Ravi Kantan, Samuel Chabot & Jonas Braasch (Red.), Proceedings of the 29th International Conference on Auditory Display (ICAD 2024). The International Community for Auditory Display. ISSN 9798991456203. s. 181–184. doi: 10.5281/zenodo.11237788. Fulltekst i vitenarkiv Vis sammendrag

  Parameter Mapping (PM) is probably the most used design approach in sonification. However, the relationship between a synthesizer’s input parameters and the perceptual distribution of its output sounds might not be proportional, limiting its ability to convey relationships within the source data in the sound. This study evaluates a basic Frequency Modulation (FM) synthesis module with perceptually motivated descriptors, measures of spectral energy distribution, and latent embeddings of pre-trained audio representation models. We demonstrate how these metrics do not indicate straightforward relationships between synthesis parameters and perceived sound. This is done using interactive audiovisual scatter plots—Synth Maps—that can be used to explore the sound distribution of the synthesizer and qualitatively evaluate how well the different representations align with human perception. Link to the code and the interactive Synth Maps are available.

• Simon Høffding, Niels Christian Hansen & Alexander Refsum Jensenius (2024). Music Research “in the Wild” – Introducing the MusicLab Copenhagen Special Collection. Music & Science. 7. doi: 10.1177/20592043241294161. Fulltekst i vitenarkiv Vis sammendrag

  This special collection of Music & Science contains 111 articles. They thoroughly describe a particular instantiation of a research concert, namely the innovative and complex event MusicLab Copenhagen. This took place over 14 hours on October 26, 2021, in Copenhagen, Denmark. Working with The Danish String Quartet (DSQ), one of the world's best chamber ensembles, a research team from RITMO, complemented with researchers from several other European institutions, ran experiments and studied how mind and body are engaged during a concert. This was a unique opportunity to capture concurrent qualitative, behavioral, and physiological measurements in a concert hall, delicately balancing the scientific ideals of reliability and ecological validity.

• Seyed Mojtaba Karbasi, Alexander Refsum Jensenius, Rolf Inge Godøy & Jim Tørresen (2024). Embodied intelligence for drumming; a reinforcement learning approach to drumming robots. Frontiers in Robotics and AI. 11. doi: 10.3389/frobt.2024.1450097. Fulltekst i vitenarkiv Vis sammendrag

  This paper investigates the potential of the intrinsically motivated reinforcement learning (IMRL) approach for robotic drumming. For this purpose, we implemented an IMRL-based algorithm for a drumming robot called ZRob, an underactuated two-DoF robotic arm with flexible grippers. Two ZRob robots were instructed to play rhythmic patterns derived from MIDI files. The RL algorithm is based on the deep deterministic policy gradient (DDPG) method, but instead of relying solely on extrinsic rewards, the robots are trained using a combination of both extrinsic and intrinsic reward signals. The results of the training experiments show that the utilization of intrinsic reward can lead to meaningful novel rhythmic patterns, while using only extrinsic reward would lead to predictable patterns identical to the MIDI inputs. Additionally, the observed drumming patterns are influenced not only by the learning algorithm but also by the robots’ physical dynamics and the drum’s constraints. This work suggests new insights into the potential of embodied intelligence for musical

• Edward Campbell, Jonathan De Souza & Alexander Refsum Jensenius (2024). Gestures, Actions and Play In Björn Heile's 3 × 10 Musical Actions For Three Socially Distanced Performers. Tempo. ISSN 0040-2982. 78(310), s. 51–61. Fulltekst i vitenarkiv Vis sammendrag

  Björn Heile’s 3 × 10 Musical Actions for Three Socially Distanced Performers features frequent changes in musical material, playing style and instrumental combinations. Throughout a series of short sections, the performers play, sing, speak, conduct and move around, following instructions that appear on tablets. This article reflects on audiences’ experiences of the work and on musical actions more generally. We consider musical actions as short, coherent motion chunks and distinguish between several types of action that appear in the piece: gestures (communicative actions, with or without sound), reactions (where a player responds to another) and interactions (where players mutually coordinate). The musicians’ individual and collective actions create a sense of play: on the one hand, they seem free and depart from standard concert conventions; on the other hand, they seem to be following a set of rules, even if these rules are not explained to the audience. As such, we approach the piece via theories of play and relate it to earlier modernist musical games. Ultimately, 3 × 10 Musical Actions emphasises several aspects of musical actions, as social, functional, expressive, playful and embodied.

• Claire Docherty, Martin Iddon, Alexander Refsum Jensenius, Raymond MacDonald & Jane Stanley (2024). ‘Are You Still There?’ Experiencing Sonic Bothy’S Verbaaaaatim. Tempo. ISSN 0040-2982. 78(310). Fulltekst i vitenarkiv Vis sammendrag

  Sonic Bothy is an inclusive experimental and new-music organisation with an ensemble of musicians with and without disabilities and neurodiversities. This article considers their audiovisual piece Verbaaaaatim (2020–21), its form marked by the context of its development and composition during the COVID-19 pandemic, using a set of interlayered perspectives that mirror the formal layers of the piece. Recorded in a single take, it comprises instrumental sounds, spoken words, written words, static and dynamic graphics and videos of the performers, aligned so that the piece seems consistently to flow onwards, although it is not always clear which element impels its forward motion. The article considers, in particular, Verbaaaaatim’s presentation of modes of embodied conviviality between its performers, the ways these find resonance in wider histories of experimental music and the ways in which its elements can be understood in an ecological framework as ‘sound actions’.

• Anna-Maria Christodoulou, Olivier Lartillot & Alexander Refsum Jensenius (2024). Multimodal music datasets? Challenges and future goals in music processing. International Journal of Multimedia Information Retrieval. ISSN 2192-6611. 13(3). doi: 10.1007/s13735-024-00344-6. Fulltekst i vitenarkiv Vis sammendrag

  The term “multimodal music dataset” is often used to describe music-related datasets that represent music as a multimedia art form and multimodal experience. However, the term “multimodality” is often used differently in disciplines such as musicology, music psychology, and music technology. This paper proposes a definition of multimodality that works across different music disciplines. Many challenges are related to constructing, evaluating, and using multimodal music datasets. We provide a task-based categorization of multimodal datasets and suggest guidelines for their development. Diverse data pre-processing methods are illuminated, highlighting their contributions to transparent and reproducible music analysis. Additionally, evaluation metrics, methods, and benchmarks tailored for multimodal music processing tasks are scrutinized, empowering researchers to make informed decisions and facilitating cross-study comparisons.

• Alexander Refsum Jensenius (2024). Embodied music learning. I Theresa Schilhab & Camilla Groth (Red.), Embodied Learning and Teaching using the 4E Cognition Approach: Exploring Perspectives in Teaching Practices. Routledge. ISSN 9781003341604. doi: 10.4324/9781003341604-21. Fulltekst i vitenarkiv Vis sammendrag

  This chapter presents a pedagogical approach based on the author’s experience teaching interactive music technology design from an embodied music cognition perspective. The “musicking quadrant” is introduced as a framework to understand the experiences of those who make music in real-time (performers) and non-real-time (instrument makers, composers, producers), and those who experience music in real-time (perceivers) and non-real-time (analysts). New technologies challenge these roles and allow for new types of musical engagement that align with the 4E cognition perspectives.

• Simon Høffding, Wenbo Yi, Eigil Lippert, Victor Evaristo Gonzalez Sanchez, Laura Bishop & Bruno Laeng [Vis alle 9 forfattere av denne artikkelen] (2023). Into the Hive-Mind: Shared Absorption and Cardiac Interrelations in Expert and Student String Quartets. Music & Science. 6. doi: 10.1177/20592043231168597. Fulltekst i vitenarkiv Vis sammendrag

  Expert musicians portray awe-inspiring precision, timing, and phrasing and may be thought to partake in a “hive-mind.” Such a shared musical absorption is characterized by a heightened empathic relation, mutual trust, and a sense that the music “takes over,” thus uniting the performers’ musical intentions. Previous studies have found correlations between empathic concern or shared experience and cardiac synchrony (CS). We aimed to investigate shared musical absorption in terms of CS by analyzing CS in two quartets: a student quartet, the Borealis String Quartet (BSQ), and an expert quartet, the Danish String Quartet (DSQ), world-renowned for their interpretations and cohesion. These two quartets performed the same Haydn excerpt in seven conditions, some of which were designed to disrupt their absorption. Using multidimensional recurrence quantification analysis (MdRQA), we found that: (1) performing resulted in significantly increased CS in both quartets compared with resting; (2) across all conditions, the DSQ had a significantly higher CS than the BSQ; (3) the BSQ's CS was inversely correlated with the degree of disruption; 4) for the DSQ, the CS remained constant across all levels of disruption, besides one added extreme disruption—a sight-reading condition. These findings tentatively support the claim that a sense of shared musical absorption, as well as group expertise, is correlated with CS.

• Alexander Refsum Jensenius (2023). Standing still together: Reflections on a one-year-long exploration of human micromotion. I Clemens Wöllner & Justin London (Red.), Performing Time. Synchrony and Temporal Flow in Music and Dance. Oxford University Press. ISSN 9780192896254. Fulltekst i vitenarkiv Vis sammendrag

  How does it feel to stand still in silence with others for 10 minutes at a time? The current chapter reports on a study of a small group of musicians and dancers that used standstill as their regular "warm-up" activity over a year of working together. Motion capture data of the sessions reveal that each individual's quantity of motion remained similar over time, but self-reports indicate that the subjective experience of time and space changed radically. The participants developed a high spatiotemporal sensitivity and reported an increase in well-being after a year of standstill. They also reported that a 10-minute standstill helped with the mental preparation before both micromotion and regular performances.

• Dongho Kwak, Thomas Michel Daniel Combriat, Alexander Refsum Jensenius & Petter Angell Olsen (2023). Characterization of Mechanical and Cellular Effects of Rhythmic Vertical Vibrations on Adherent Cell Cultures. Bioengineering. 10(7), s. 1–19. doi: 10.3390/bioengineering10070811. Fulltekst i vitenarkiv Vis sammendrag

  This paper presents an innovative experimental setup that employs the principles of audio technology to subject adherent cells to rhythmic vertical vibrations. We employ a novel approach that combines three-axis acceleration measurements and particle tracking velocimetry to evaluate the setup’s performance. This allows us to estimate crucial parameters such as root mean square acceleration, fluid flow patterns, and shear stress generated within the cell culture wells when subjected to various vibration types. The experimental conditions consisted of four vibrational modes: No Vibration, Continuous Vibration, Regular Pulse, and Variable Pulse. To evaluate the effects on cells, we utilized fluorescence microscopy and a customized feature extraction algorithm to analyze the F-actin filament structures. Our findings indicate a consistent trend across all vibrated cell cultures, revealing a reduction in size and altered orientation (2D angle) of the filaments. Furthermore, we observed cell accumulations in the G1 cell cycle phase in cells treated with Continuous Vibration and Regular Pulse. Our results demonstrate a negative correlation between the magnitude of mechanical stimuli and the size of F-actin filaments, as well as a positive correlation with the accumulations of cells in the G1 phase of the cell cycle. By unraveling these analyses, this study paves the way for future investigations and provides a compelling framework for comprehending the intricate cellular responses to rhythmic mechanical stimulation.

• Alexander Szorkovszky, Frank Veenstra, Olivier Serge Gabriel Lartillot, Alexander Refsum Jensenius & Kyrre Glette (2023). Embodied Tempo Tracking with a Virtual Quadruped, Proceedings of the Sound and Music Computing Conference 2023. SMC Network . ISSN 9789152773727. doi: 10.5281/zenodo.10060970. Fulltekst i vitenarkiv Vis sammendrag

  Dynamic attending theory posits that we entrain to time-structured events in a similar way to synchronizing oscillators. Hence, a tempo tracker based on oscillators may replicate humans' ability to rapidly and robustly identify musical tempi. We demonstrate this idea using virtual quadrupeds, whose gaits are controlled by oscillatory neural circuits known as central pattern generators (CPGs). The quadruped CPGs were first optimized for flexible gait frequency and direction, and then an additional recurrent layer was optimized for entrainment to isochronous pulses. Using excerpts of musical pieces, we find that the motion of these agents can rapidly entrain to simple rhythms. Performance was found to be partially predicted by pulse entropy, a measure of the sample's rhythmic complexity. Notably, in addition to having wide tempo ranges, the best performing agents can also entrain to rhythms that are periodic but not quantized on a grid. Our approach offers an embodied alternative to other dynamical systems-based approaches to entrainment, such as gradient-frequency arrays. Such agents could find use as participants in virtual musicking environments, or as real-world musical robots.

• Cagri Erdem, Benedikte Wallace, Kyrre Glette & Alexander Refsum Jensenius (2023). Tool or Actor? Expert Improvisers’ Evaluation of a Musical AI “Toddler”. Computer Music Journal. ISSN 0148-9267. 46(4), s. 26–42. doi: 10.1162/comj_a_00657. Fulltekst i vitenarkiv Vis sammendrag

  Abstract In this article, we introduce the coadaptive audiovisual instrument, CAVI. This instrument uses deep learning to generate control signals based on muscle and motion data of a performer's actions. The generated signals control time-based live sound-processing modules. How does a performer perceive such an instrument? Does it feel like a machine learning–based musical tool? Or is it an actor with the potential to become a musical partner? We report on an evaluation of CAVI after it had been used in two public performances. The evaluation is based on interviews with the performers, audience questionnaires, and the creator's self-analysis. Our findings suggest that the perception of CAVI as a tool or actor correlates with the performer's sense of agency. The perceived agency changes throughout a performance based on several factors, including perceived musical coordination, the balance between surprise and familiarity, a “common sense,” and the physical characteristics of the performance setting.

• Maham Riaz, Finn Upham, Kayla Burnim, Laura Bishop & Alexander Refsum Jensenius (2023). Comparing inertial motion sensors for capturing human micromotion, Proceedings of the Sound and Music Computing Conference 2023. SMC Network . ISSN 9789152773727. doi: 10.5281/zenodo.8316051. Fulltekst i vitenarkiv Vis sammendrag

  The paper presents a study of the noise level of accelerometer data from a mobile phone compared to three commercially available IMU-based devices (AX3, Equivital, and Movesense) and a marker-based infrared motion capture system (Qualisys). The sensors are compared in static positions and for measuring human micromotion, with larger motion sequences as reference. The measurements show that all but one of the IMU-based devices capture motion with an accuracy and precision that is far below human micromotion. However, their data and representations differ, so care should be taken when comparing data between devices.

• Raul Masu, Fabio Morreale & Alexander Refsum Jensenius (2023). The O in NIME: Reflecting on the Importance of Reusing and Repurposing Old Musical Instruments. I Miguel Ortiz & Adnan Marquez-Borbon (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidad Autónoma Metropolitana. Fulltekst i vitenarkiv Vis sammendrag

  In this paper, we reflect on the focus of “newness” in NIME research and practice and argue that there is a missing O (for “Old”) in framing our academic discourse. A systematic review of the last year’s conference proceedings reveals that most papers do, indeed, present new instruments, interfaces, or pieces of technology. Comparably few papers focus on the prolongation of existing NIMEs. Our meta-analysis identifies four main categories from these papers: (1) reuse, (2) update, (3) complement, and (4) long-term engagement. We discuss how focusing more on these four types of NIME development and engagement can be seen as an approach to increase sustainability.

• Seyed Mojtaba Karbasi, Alexander Refsum Jensenius, Rolf Inge Godøy & Jim Tørresen (2023). Exploring Emerging Drumming Patterns in a Chaotic Dynamical System using ZRob. I Miguel Ortiz & Adnan Marquez-Borbon (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidad Autónoma Metropolitana. Fulltekst i vitenarkiv Vis sammendrag

  ZRob is a robotic system designed for playing a snare drum. The robot is constructed with a passive flexible spring-based joint inspired by the human hand. This paper describes a study exploring rhythmic patterns by exploiting the chaotic dynamics of two ZRobs. In the experiment, we explored the control configurations of each arm by trying to create un- predictable patterns. Over 200 samples have been recorded and analyzed. We show how the chaotic dynamics of ZRob can be used for creating new drumming patterns.

• Henrik Herrebrøden, Alexander Refsum Jensenius, Thomas Espeseth, Laura Bishop & Jonna Katariina Vuoskoski (2023). Cognitive load causes kinematic changes in both elite and non-elite rowers. Human Movement Science. ISSN 0167-9457. 90. doi: 10.1016/j.humov.2023.103113. Fulltekst i vitenarkiv Vis sammendrag

  The current motor literature suggests that extraneous cognitive load may affect performance and kinematics in a primary motor task. A common response to increased cognitive demand, as observed in past studies, might be to reduce movement complexity and revert to previously learned movement patterns, in line with the progression-regression hypothesis. However, according to several accounts of automaticity, motor experts should be able to cope with dual task demands without detriment to their performance and kinematics. To test this, we conducted an experiment asking elite and non-elite rowers to use a rowing ergometer under conditions of varying task load. We employed single-task conditions with low cognitive load (i.e., rowing only) and dual-task conditions with high cognitive load (i.e., rowing and solving arithmetic problems). The results of the cognitive load manipulations were mostly in line with our hypotheses. Overall, participants reduced movement complexity, for example by reverting towards tighter coupling of kinematic events, in their dual-task performance as compared to single-task performance. The between-group kinematic differences were less clear. In contradiction to our hypotheses, we found no significant interaction between skill level and cognitive load, suggesting that the rowers' kinematics were affected by cognitive load irrespective of skill level. Overall, our findings contradict several past findings and automaticity theories, and suggest that attentional resources are required for optimal sports performance.

• Cagri Erdem & Alexander Refsum Jensenius (2022). Me & My Musical AI "Toddler". I Andrew McPherson & Emma Frid (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. doi: 10.21428/92fbeb44.1d9762bd. Fulltekst i vitenarkiv
• Seyed Mojtaba Karbasi, Alexander Refsum Jensenius, Rolf Inge Godøy & Jim Tørresen (2022). A Robotic Drummer with a Flexible Joint: the Effect of Passive Impedance on Drumming. I Romain Michon, Laurent Pottier & Yann Orlarey (Red.), Proceedings of the 19th Sound and Music Computing Conference. SMC Network. ISSN 9782958412609. s. 232–237. doi: 10.5281/zenodo.6797833. Fulltekst i vitenarkiv Vis sammendrag

  Intelligent robots aimed for performing music and playing musical instruments have been developed in recent years. With the advancements in artificial intelligence and robotic systems, new capabilities have been explored in this field. One major aspect of musical robots that can lead to the emergence of creative results is the ability to learn skills autonomously. To make it feasible, it is important to make the robot utilize its maximum potential and mechanical capabilities to play a musical instrument. Furthermore, the robot needs to find the musical possibilities based on the physical properties of the instrument to provide satisfying results. In this work, we introduce a drum robot with certain mechanical specifications and analyze the capabilities of the robot according to the drumming sound results of the robot. The robot has two degrees of freedom, actuated by one quasi direct-drive servo motor. The gripper of the robot features a flexible joint with passive springs which adds complexity to the movements of the drumstick. In a basic experiment, we have looked at the drum roll performance by the robot while changing a few control variables such as frequency and amplitude of the motion. Both single-stroke and double-stroke drum rolls can be performed by the robot by changing the control variables. The effect of the flexible gripper on the drumming results of the robot is the main focus of this study. Additionally, we have divided the control space according to the type of drum rolls. The results of this experiment lay the groundwork for developing an intelligent algorithm for the robot to learn musical patterns by interacting with the drum.

• Pritty Patel-Grosz, Patrick Georg Grosz, Tejaswinee Kelkar & Alexander Refsum Jensenius (2022). Steps towards a semantics of dance. Journal of Semantics. ISSN 0167-5133. 39(4), s. 693–748. doi: 10.1093/jos/ffac009. Fulltekst i vitenarkiv Vis sammendrag

  Abstract As formal theoretical linguistic methodology has matured, recent years have seen the advent of applying it to objects of study that transcend language, e.g., to the syntax and semantics of music (Lerdahl & Jackendoff 1983, Schlenker 2017a; see also Rebuschat et al. 2011). One of the aims of such extensions is to shed new light on how meaning is construed in a range of communicative systems. In this paper, we approach this goal by looking at narrative dance in the form of Bharatanatyam. We argue that a semantic approach to dance can be modeled closely after the formal semantics of visual narrative proposed by Abusch (2013, 2014, 2021). A central conclusion is that dance not only shares properties of other fundamentally human means of expression, such as visual narrative and music, but that it also exhibits similarities to sign languages and the gestures of non-signers (see, e.g., Schlenker 2020) in that it uses space to track individuals in a narrative and performatively portray the actions of those individuals. From the perspective of general human cognition, these conclusions corroborate the idea that linguistic investigations beyond language (see Patel-Grosz et al. forthcoming) can yield insights into the very nature of the human mind and of the communicative devices that it avails.

• Pritty Patel-Grosz, Jonah Katz, Patrick Georg Grosz, Tejaswinee Kelkar & Alexander Refsum Jensenius (2022). From music to dance: The inheritance of semantic inferences. Empirical Issues in Syntax and Semantics. 14, s. 219–238. Fulltekst i vitenarkiv
• Dana Swarbrick, Finn Upham, Cagri Erdem, Alexander Refsum Jensenius & Jonna Katariina Vuoskoski (2022). Measuring Virtual Audiences with The MusicLab App: Proof of Concept. I Romain Michon, Laurent Pottier & Yann Orlarey (Red.), Proceedings of the 19th Sound and Music Computing Conference. SMC Network. ISSN 9782958412609. s. 532–539. doi: 10.5281/zenodo.6798290. Fulltekst i vitenarkiv Vis sammendrag

  We present a proof of concept by using the mobile application MusicLab to measure motion during a livestreamed concert and examining its relation to musical features. With the MusicLab App, participants’ own smartphones’ inertial measurement unit (IMU) sensors can be leveraged to record their motion and their subjective experiences collected through survey responses. The MusicLab Lockdown Rave was an Algorave (live-coded dance music) livestreamed concert featuring prolific performers Renick Bell and Khoparzi. They livestreamed for an international audience who wore their smartphones with the MusicLab App while they listened/danced to the performances. From their acceleration, we computed quantity of motion and compared it to musical features that have previously been associated with music-related motion, namely pulse clarity and low and high spectral flux. By encountering challenges and implementing improvements, the MusicLab App has become a useful tool for researching music-related motion.

• Dongho Kwak, Thomas Michel Daniel Combriat, Chencheng Wang, Hanne Scholz, Anne Danielsen & Alexander Refsum Jensenius (2022). Music for Cells? A Systematic Review of Studies Investigating the Effects of Audible Sound Played Through Speaker-Based Systems on Cell Cultures. Music & Science. 5. doi: 10.1177/20592043221080965. Fulltekst i vitenarkiv Vis sammendrag

  There have been several studies investigating whether musical sound can be used as cell stimuli in recent years. We systematically searched publications to get an overview of studies that have used audible sound played through speaker-based systems to induce mechanical perturbation in cell cultures. A total of 12 studies were identified. We focused on the experimental setups, the sounds that were used as stimuli, and relevant biological outcomes. The studies are categorized into simple and complex sounds depending on the type of sound employed. Some of the promising effects reported were enhanced cell migration, proliferation, colony formation, and differentiation ability. However, there are significant differences in methodologies and cell type-specific outcomes, which made it difficult to find a systematic pattern in the results. We suggest that future experiments should consider using: (1) a more controlled acoustic environment, (2) standardized sound and noise measurement methods, and (3) a more comprehensive range of controlled sound parameters as cellular stimuli.

• Dongho Kwak, Petter Angell Olsen, Anne Danielsen & Alexander Refsum Jensenius (2022). A trio of biological rhythms and their relevance in rhythmic mechanical stimulation of cell cultures. Frontiers in Psychology. 13. doi: 10.3389/fpsyg.2022.867191. Fulltekst i vitenarkiv Vis sammendrag

  The primary aim of this article is to provide a biological rhythm model based on previous theoretical and experimental findings to promote more comprehensive studies of rhythmic mechanical stimulation of cell cultures, which relates to tissue engineering and regenerative medicine fields. Through an interdisciplinary approach where different standpoints from biology and musicology are combined, we explore some of the core rhythmic features of biological and cellular rhythmic processes and present them as a trio model that aims to afford a basic but fundamental understanding of the connections between various biological rhythms. It is vital to highlight such links since rhythmic mechanical stimulation and its effect on cell cultures are vastly underexplored even though the cellular response to mechanical stimuli (mechanotransduction) has been studied widely and relevant experimental evidence suggests mechanotransduction processes are rhythmic.

• Mari Lesteberg & Alexander Refsum Jensenius (2022). MICRO and MACRO - Developing New Accessible Musicking Technologies. I Michael Iber & Kajetan Enge (Red.), Audio Mostly 2022: What you hear is what you see? Perspectives on modalities in sound and music interaction. ACM Publications. ISSN 9781450397018. s. 147–150. doi: 10.1145/3561212.3561231. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes the development of two musical instrument prototypes developed to explore how non-haptic music technologies can be accessed from a web browser and how they can offer accessibility for people with low fine motor skills. Two approaches to browser-based motion capture were developed and tested during an iterative design process. This was followed by observational studies of two user groups: one with low fine motor skills and one with normal motor skills. Contrary to our expectations, we found that avoiding the use of buttons and mice did not make the apps more accessible for the participants with low fine motor skills. Furthermore, motion speed was considered more important for people with low motor skills than the size of the control action. The most important finding is that browser-based musical instruments using sensor-based and video-based motion tracking are not only feasible but allow for reaching much larger groups of people than previously possible. This may ultimately lead to both more personalized and accessible musical experiences.

• Dongho Kwak, Michael Joseph Krzyzaniak, Anne Danielsen & Alexander Refsum Jensenius (2022). A mini acoustic chamber for small-scale sound experiments. I Michael Iber & Kajetan Enge (Red.), Audio Mostly 2022: What you hear is what you see? Perspectives on modalities in sound and music interaction. ACM Publications. ISSN 9781450397018. s. 143–146. doi: 10.1145/3561212.3561223. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes the design and construction of a mini acoustic chamber using low-cost materials. The primary purpose is to provide an acoustically treated environment for small-scale sound measurements and experiments using ≤ 10-inch speakers. Testing with different types of speakers showed frequency responses of < 10 dB peak-to-peak (except the ”boxiness” range below 900 Hz), and the acoustic insulation (soundproofing) of the chamber is highly efficient (approximately 20 dB SPL in reduction). Therefore, it provides a significant advantage in conducting experiments requiring a small room with consistent frequency response and preventing unwanted noise and hearing damage. Additionally, using a cost-effective and compact acoustic chamber gives flexibility when characterizing a small-scale setup and sound stimuli used in experiments.

• Alexander Refsum Jensenius & Cagri Erdem (2022). Gestures in ensemble performance. I Renee Timmers, Freya Bailes & Helena Daffern (Red.), Together in Music: Coordination, expression, participation. Oxford University Press. ISSN 9780198860761. doi: 10.1093/oso/9780198860761.003.0014. Fulltekst i vitenarkiv Vis sammendrag

  The topic of gesture has received growing attention among music researchers over recent decades. Some of this research has been summarized in anthologies on "musical gestures", such as those by Gritten and King (2006), Godøy and Leman (2010), and Gritten and King (2011). There have also been a couple of articles reviewing how the term gesture has been used in various music-related disciplines (and beyond), including those by Cadoz and Wanderley (2000) and Jensenius et al. (2010). Much empirical work has been performed since these reviews were written, aided by better motion capture technologies, new machine learning techniques, and a heightened awareness of the topic. Still there are a number of open questions as to the role of gestures in music performance in general, and in ensemble performance in particular. This chapter aims to clarify some of the basic terminology of music-related body motion, and draw up some perspectives of how one can think about gestures in ensemble performance. This is, obviously, only one way of looking at the very multifaceted concept of gesture, but it may lead to further interest in this exciting and complex research domain.

• Byron Remache-Vinueza, Andrés Trujillo-León, Maria-Alena Clim, Fabián Sarmiento-Ortiz, Liliana Topon-Visarrea & Alexander Refsum Jensenius [Vis alle 7 forfattere av denne artikkelen] (2022). Mapping Monophonic MIDI Tracks to Vibrotactile Stimuli Using Tactile Illusions. I Charalampos Saitis, Ildar Farkhatdinov & Stefano Papetti (Red.), Haptic and Audio Interaction Design. Springer Nature. ISSN 9783031150197. Fulltekst i vitenarkiv Vis sammendrag

  In this project, we propose an algorithm to convert musical features and structures extracted from monophonic MIDI files to tactile illusions. Mapping music to vibrotactile stimuli is a challenging process since the perceptible frequency range of the skin is lower than that of the auditory system, which may cause the loss of some musical features. Moreover, current proposed models do not warrant the correspondence between the emotional response to music and the vibrotactile version of it. We propose to use tactile illusions as an additional resource to convey more meaningful vibrotactile stimuli. Tactile illusions enable us to add dynamics to vibrotactile stimuli in the form of movement, changes of direction, and localization. The suggested algorithm converts monophonic MIDI files into arrangements of two tactile illusions: “phantom motion” and “funneling”. The validation of the rendered material consisted of presenting the audio rendered from MIDI files to participants and then adding the vibrotactile component to it. The arrangement of tactile illusions was also evaluated alone. Results suggest that the arrangement of tactile illusions evokes more positive emotions than negative ones. This arrangement was also perceived as more agreeable and stimulating than the original audio. Although musical features such as rhythm, tempo, and melody were mostly recognized in the arrangement of tactile illusions, it provoked a different emotional response from that of the original audio.

• Cagri Erdem, Benedikte Wallace & Alexander Refsum Jensenius (2022). CAVI: A Coadaptive Audiovisual Instrument–Composition. I Andrew McPherson & Emma Frid (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. doi: 10.21428/92fbeb44.803c24dd. Fulltekst i vitenarkiv
• Henrik Herrebrøden, Victor Gonzalez, Jonna Katariina Vuoskoski & Alexander Refsum Jensenius (2022). Pre-recorded sound file versus human coach: Investigating auditory guidance effects on elite rowers. I Areti Andreopoulou, Bruce Walker, Kyla McMullen & Niklas Rönnberg (Red.), Proceedings of the 27th International Conference on Auditory Display (ICAD2022). The International Community for Auditory Display. ISSN 9780967090481. s. 25–30. doi: 10.21785/icad2022.012. Fulltekst i vitenarkiv Vis sammendrag

  We report on an experiment in which nine Norwegian national team rowers (one female) were tested on a rowing ergometer in a motion capture lab. After the warm-up, all participants rowed in a neutral condition for three minutes, without any instructions. Then they rowed in two conditions (three minutes each), with a counterbalanced order: (1) a coaching condition, during which they received oral instructions from a national team coach, and (2) a sound condition, during which they listened to a pre-recorded sound file that was produced to promote good rowing technique. Performance was measured in terms of distance traveled, and subjective responses were measured via a questionnaire inquiring participants about how useful the two interventions were for rowing efficiency. The results showed no significant difference between the two conditions of main interest–the pre-recorded sound file and traditional coaching–on any measure. Our study indicates that auditory guidance can be a cost-efficient supplement to athletes’ training, even at higher levels.

• Qichao Lan & Alexander Refsum Jensenius (2021). Glicol: A Graph-oriented Live Coding Language Developed with Rust, WebAssembly and AudioWorklet. I Anna Xambo Sedo & Michel Buffa (Red.), Proceedings of the International Web Audio Conference (WAC). IRCAM. Fulltekst i vitenarkiv Vis sammendrag

  This paper introduces the new music live coding language Glicol (graph-oriented live coding language) and its web-based run-time environment. As the name suggests, this language is designed to represent directed acyclic graphs (DAG), using a syntax optimised for live music performances. The audio engine and the language interpreter are both developed with the Rust programming language. With the help of WebAssembly and AudioWorklet, this language can run in web browsers. It also supports co-performance with the support for collaborative editing. Taking advantages of the Rust programming language design, the runtime environment is both safe and efficient. Documentation and error handling messages can be accessed in the web browser. All in all, we see Glicol as an efficient and future-oriented language for collaborative text-based musicking.

• Seyed Mojtaba Karbasi, Rolf Inge Godøy, Alexander Refsum Jensenius & Jim Tørresen (2021). A Learning Method for Stiffness Control of a Drum Robot for Rebounding Double Strokes. I Dan Zhang (Red.), 2021 7th International Conference on Mechatronics and Robotics Engineering (ICMRE). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9780738132051. s. 54–58. doi: 10.1109/ICMRE51691.2021.9384843. Fulltekst i vitenarkiv Vis sammendrag

  In robot drumming, performing double stroke rolls is a key ability. Human drummers learn to play double strokes by just trying it several times. For performing it, a model needs to be learned to provide anticipatory commands during drumming. Joint stiffness plays a key role in rebounding double stroke task and should be considered in the model. We have introduced an interactive learning method for a drum robot to learn joint stiffness for rebounding double stroke task. The model is simulated for a 2-DoF robotic arm. The algorithm is simulated with 3 different drum kits to show the robustness of the learning approach. The simulation results also show significant compatibility with human performance results. In addition, the refined learning algorithm adjusts the stroke timing which is important for producing proper rhythms.

• Laura Bishop, Alexander Refsum Jensenius & Bruno Laeng (2021). Musical and Bodily Predictors of Mental Effort in String Quartet Music: An Ecological Pupillometry Study of Performers and Listeners. Frontiers in Psychology. doi: 10.3389/fpsyg.2021.653021. Fulltekst i vitenarkiv Vis sammendrag

  Music performance can be cognitively and physically demanding. These demands vary across the course of a performance as the content of the music changes. More demanding passages require performers to focus their attention more intensity, or expend greater “mental effort.” To date, it remains unclear what effect different cognitive-motor demands have on performers' mental effort. It is likewise unclear how fluctuations in mental effort compare between performers and perceivers of the same music. We used pupillometry to examine the effects of different cognitive-motor demands on the mental effort used by performers and perceivers of classical string quartet music. We collected pupillometry, motion capture, and audio-video recordings of a string quartet as they performed a rehearsal and concert (for live audience) in our lab. We then collected pupillometry data from a remote sample of musically-trained listeners, who heard the audio recordings (without video) that we captured during the concert. We used a modelling approach to assess the effects of performers' bodily effort (head and arm motion; sound level; performers' ratings of technical difficulty), musical complexity (performers' ratings of harmonic complexity; a score-based measure of harmonic tension), and expressive difficulty (performers' ratings of expressive difficulty) on performers' and listeners' pupil diameters. Our results show stimulating effects of bodily effort and expressive difficulty on performers' pupil diameters, and stimulating effects of expressive difficulty on listeners' pupil diameters. We also observed negative effects of musical complexity on both performers and listeners, and negative effects of performers' bodily effort on listeners, which we suggest may reflect the complex relationships that these features share with other aspects of musical structure. Looking across the concert, we found that both of the quartet violinists (who exchanged places halfway through the concert) showed more dilated pupils during their turns as 1st violinist than when playing as 2nd violinist, suggesting that they experienced greater arousal when “leading” the quartet in the 1st violin role. This study shows how eye tracking and motion capture technologies can be used in combination in an ecological setting to investigate cognitive processing in music performance.

• Raul Masu, Adam Pultz Melbye, John Sullivan & Alexander Refsum Jensenius (2021). NIME and the Environment: Toward a More Sustainable NIME Practice. I Roger Dannenberg & Xiao Xiao (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. The International Conference on New Interfaces for Musical Expression. Fulltekst i vitenarkiv Vis sammendrag

  This paper addresses environmental issues around NIME research and practice. We discuss the formulation of an environmental statement for the conference as well as the initiation of a NIME Eco Wiki containing information on environmental concerns related to the creation of new musical instruments. We outline a number of these concerns and, by systematically reviewing the proceedings of all previous NIME conferences, identify a general lack of reflection on the environmental impact of the research undertaken. Finally, we propose a framework for addressing the making, testing, using, and disposal of NIMEs in the hope that sustainability may become a central concern to researchers.

• Alexander Refsum Jensenius (2021). Best versus Good Enough Practices for Open Music Research. Empirical Musicology Review. 16(1). doi: 10.18061/emr.v16i1.7646. Fulltekst i vitenarkiv Vis sammendrag

  Music researchers work with increasingly large and complex data sets. There are few established data handling practices in the field and several conceptual, technological, and practical challenges. Furthermore, many music researchers are not equipped for (or interested in) the craft of data storage, curation, and archiving. This paper discusses some of the particular challenges that empirical music researchers face when working towards Open Research practices: handling (1) (multi)media files, (2) privacy, and (3) copyright issues. These are exemplified through MusicLab, an event series focused on fostering openness in music research. It is argued that the "best practice" suggested by the FAIR principles is too demanding in many cases, but "good enough practice" may be within reach for many. A four-layer data handling "recipe" is suggested as concrete advice for achieving "good enough practice" in empirical music research.

• Laura Bishop, Victor Evaristo Gonzalez Sanchez, Bruno Laeng, Alexander Refsum Jensenius & Simon Høffding (2021). Move like everyone is watching: Social context affects head motion and gaze in string quartet performance. Journal of New Music Research. ISSN 0929-8215. doi: 10.1080/09298215.2021.1977338. Fulltekst i vitenarkiv Vis sammendrag

  Ensemble musicians engage with each other visually through glances and body motion. We conducted a case study to test how string quartet musicians would respond to playing conditions that were meant to discourage or promote visually communicative behaviour. A quartet performed in different seating configurations under rehearsal and concert conditions. Quantity of head motion was reduced when musicians’ gaze was constrained. Differences in gaze and body motion between musicians reflected their musical roles in the ensemble. Overall, our findings suggest that gaze and motion dynamics vary within and between performances in response to changing musical, situational and social factors.

• Balint Laczko & Alexander Refsum Jensenius (2021). Reflections on the Development of the Musical Gestures Toolbox for Python. I Prithvi Ravi Kantan, Razvan Paisa & Silvin Willemsen (Red.), Proceedings of the Nordic Sound and Music Computing Conference. Aalborg Universitetsforlag. Fulltekst i vitenarkiv Vis sammendrag

  The paper presents the Musical Gestures Toolbox (MGT) for Python, a collection of modules targeted at researchers working with video recordings. The toolbox includes video visualization techniques such as creating motion videos, motion history images, and motiongrams. These visualizations allow for studying video recordings from different temporal and spatial perspectives. The toolbox also includes basic computer vision methods, and it is designed to integrate well with audio analysis toolboxes. The MGT was initially developed to analyze music-related body motion (of musicians, dancers, and perceivers) but is equally helpful for other disciplines working with video recordings of humans, such as linguistics, pedagogy, psychology, and medicine.

• Alexander Refsum Jensenius (2021). Musikkteknologiforskning. Nytt Norsk Tidsskrift (NNT). ISSN 0800-336X. 38(3), s. 260–263. Fulltekst i vitenarkiv Vis sammendrag

  Når jeg presenterer meg som musikkteknolog, får jeg ofte undrende spørsmål. Noen er opptatt av det teknologiske: «Så du driver med synther og sånn?» Andre lurer på det musikalske: «Er det sånn pling-plong-musikk?» Likevel bruker mange en form for musikkteknologi hver dag, om det så bare er radioen som spiller musikk om morgenen. I denne artikkelen vil jeg gi et innblikk i musikkteknologi som forskningsfelt. Men først vil jeg introdusere begrepet «musikkering».

• Cagri Erdem, Qichao Lan, Julian Fuhrer, Charles Patrick Martin, Jim Tørresen & Alexander Refsum Jensenius (2020). Towards Playing in the 'Air': Modeling Motion-Sound Energy Relationships in Electric Guitar Performance Using Deep Neural Networks. I Simone Spagnol & Andrea Valle (Red.), Proceedings of the 17th Sound and Music Computing Conference. Axea sas/SMC Network. ISSN 9788894541502. s. 177–184. Fulltekst i vitenarkiv Vis sammendrag

  In acoustic instruments, sound production relies on the interaction between physical objects. Digital musical instruments, on the other hand, are based on arbitrarily designed action--sound mappings. This paper describes the ongoing exploration of an empirically-based approach for simulating guitar playing technique when designing the mappings of 'air instrument' designs. We present results from an experiment in which 33 electric guitarists performed a set of basic sound-producing actions: impulsive, sustained, and iterative. The dataset consists of bioelectric muscle signals, motion capture, video, and audio recordings. This multimodal dataset was used to train a long short-term memory network (LSTM) with a few hidden layers and relatively short training duration. We show that the network is able to predict audio energy features of free improvisations on the guitar, relying on a dataset of three distinct motion types.

• Agata Zelechowska, Victor Evaristo Gonzalez Sanchez & Alexander Refsum Jensenius (2020). Standstill to the ‘beat’: Differences in involuntary movement responses to simple and complex rhythms, AM '20: Proceedings of the 15th International Conference on Audio Mostly. Association for Computing Machinery (ACM). ISSN 9781450375634. s. 107–113. doi: 10.1145/3411109.3411139. Fulltekst i vitenarkiv Vis sammendrag

  Previous studies have shown that movement-inducing properties of music largely depend on the rhythmic complexity of the stimuli. However, little is known about how simple isochronous beat patterns differ from more complex rhythmic structures in their effect on body movement. In this paper we study spontaneous movement of 98 participants instructed to stand as still as possible for 7 minutes while listening to silence and randomised sound excerpts: isochronous drumbeats and complex drum patterns, each at three different tempi (90, 120, 140 BPM). The participants’ head movement was recorded with an optical motion capture system.We found that on average participants moved more during the sound stimuli than in silence, which confirms the results from our previous studies. Moreover, the stimulus with complex drum patterns elicited more movement when compared to the isochronous drum beats. Across different tempi, the participants moved most at 120 BPM for the average of both types of stimuli. For the isochronous drumbeats, however, their movement was highest at 140 BPM. These results can contribute to our understanding of the interplay between rhythmic complexity, tempo and music-induced movement.

• Agata Zelechowska, Victor E. Gonzalez-Sanchez, Bruno Laeng & Alexander Refsum Jensenius (2020). Headphones or Speakers? An Exploratory Study of Their Effects on Spontaneous Body Movement to Rhythmic Music. Frontiers in Psychology. 11(698). doi: 10.3389/fpsyg.2020.00698. Fulltekst i vitenarkiv Vis sammendrag

  Previous studies have shown that music may lead to spontaneous body movement, even when people try to stand still. But are spontaneous movement responses to music similar if the stimuli are presented using headphones or speakers? This article presents results from an exploratory study in which 35 participants listened to rhythmic stimuli while standing in a neutral position. The six different stimuli were 45 s each and ranged from a simple pulse to excerpts from electronic dance music (EDM). Each participant listened to all the stimuli using both headphones and speakers. An optical motion capture system was used to calculate their quantity of motion, and a set of questionnaires collected data about music preferences, listening habits, and the experimental sessions. The results show that the participants on average moved more when listening through headphones. The headphones condition was also reported as being more tiresome by the participants. Correlations between participants’ demographics, listening habits, and self-reported body motion were observed in both listening conditions. We conclude that the playback method impacts the level of body motion observed when people are listening to music. This should be taken into account when designing embodied music cognition studies.

• Agata Zelechowska, Victor Evaristo Gonzalez Sanchez, Bruno Laeng, Jonna Katariina Vuoskoski & Alexander Refsum Jensenius (2020). Who Moves to Music? Empathic Concern Predicts Spontaneous Movement Responses to Rhythm and Music. Music & Science. 3. doi: 10.1177/2059204320974216. Fulltekst i vitenarkiv Vis sammendrag

  Moving to music is a universal human phenomenon, and previous studies have shown that people move to music even when they try to stand still. However, are there individual differences when it comes to how much people spontaneously respond to music with body movement? This article reports on a motion capture study in which 34 participants were asked to stand in a neutral position while listening to short excerpts of rhythmic stimuli and electronic dance music. We explore whether personality and empathy measures, as well as different aspects of music-related behaviour and preferences, can predict the amount of spontaneous movement of the participants. Individual differences were measured using a set of questionnaires: Big Five Inventory, Interpersonal Reactivity Index, and Barcelona Music Reward Questionnaire. Liking ratings for the stimuli were also collected. The regression analyses show that Empathic Concern is a significant predictor of the observed spontaneous movement. We also found a relationship between empathy and the participants’ self-reported tendency to move to music.

• Laura Bishop & Alexander Refsum Jensenius (2020). Reliability of two infrared motion capture systems in a music performance setting. I Simone Spagnol & Andrea Valle (Red.), Proceedings of the 17th Sound and Music Computing Conference. Axea sas/SMC Network. ISSN 9788894541502. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes a comparative analysis of tracking quality in two infrared marker-based motion capture systems: one older but high-end (Qualisys, purchased in 2009) and the other newer and mid-range (OptiTrack, purchased in 2019). We recorded performances by a string quartet with both systems simultaneously, using the same frame rate. Our recording set-up included a combination of moving markers (affixed to musicians’ bodies) and stationary markers (affixed to music stands). Higher noise levels were observed in Qualisys recordings of stationary markers than in OptiTrack recordings, as well as a greater spatial range, though OptiTrack recordings had a higher rate of outliers (“spikes” in the signal). In moving markers, increased quantity of motion was associated with increased betweensystem error rates. Both systems showed minimal withintrial drift but a reduction in recording accuracy and precision over the duration of the experiment. Overall, our results show that the older/high-end system (Qualisys) produced slightly lower-quality recordings than the newer/midrange system (OptiTrack). We discuss how our findings may inform researchers’ interpretations of motion capture data, particularly when capturing the types of motion that are important for performing music.

• Cagri Erdem, Qichao Lan & Alexander Refsum Jensenius (2020). Exploring relationships between effort, motion, and sound in new musical instruments. Human Technology. 16(3), s. 310–347. doi: 10.17011/ht/urn.202011256767. Fulltekst i vitenarkiv Vis sammendrag

  We investigated how the action–sound relationships found in electric guitar performance can be used in the design of new instruments. Thirty-one trained guitarists performed a set of basic sound-producing actions (impulsive, sustained, and iterative) and free improvisations on an electric guitar. We performed a statistical analysis of the muscle activation data (EMG) and audio recordings from the experiment. Then we trained a long short-term memory network with nine different configurations to map EMG signal to sound. We found that the preliminary models were able to predict audio energy features of free improvisations on the guitar, based on the dataset of raw EMG from the basic sound-producing actions. The results provide evidence of similarities between body motion and sound in music performance, compatible with embodied music cognition theories. They also show the potential of using machine learning on recorded performance data in the design of new musical instruments.

• Cagri Erdem, Alexander Refsum Jensenius, Kyrre Glette, Michael Joseph Krzyzaniak & Frank Veenstra (2020). Air-Guitar Control of Interactive Rhythmic Robots. Proceedings of the International Conference on Live Interfaces (Proceedings of ICLI). s. 208–210. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes an interactive art installation shown at ICLI in Trondheim in March 2020. The installation comprised three musical robots (Dr. Squiggles) that play rhythms by tapping. Visitors were invited to wear muscle-sensor armbands, through which they could control the robots by performing ‘air-guitar’-like gestures.

• Anna Xambó, Robin Støckert, Alexander Refsum Jensenius & Sigurd Saue (2020). Learning to Code Through Web Audio: A Team-Based Learning Approach. Journal of The Audio Engineering Society. ISSN 1549-4950. 68(10), s. 727–737. doi: 10.17743/jaes.2020.0019. Fulltekst i vitenarkiv Vis sammendrag

  In this article, we discuss the challenges and opportunities provided by teaching programming using web audio technologies and adopting a team-based learning (TBL) approach among a mix of colocated and remote students, mostly novices in programming. The course has been designed for cross-campus teaching and teamwork, in alignment with the two-city master's program in which it has been delivered. We present the results and findings from (1) students' feedback; (2) software complexity metrics; (3) students' blog posts; and (4) teacher's reflections. We found that the nature of web audio as a browser-based environment, coupled with the collaborative nature of the course, was suitable for improving the students' level of confidence about their abilities in programming. This approach promoted the creation of group course projects of a certain level of complexity, based on the students' interests and programming levels. We discuss the challenges of this approach, such as supporting smooth cross-campus interactions and assuring students' preknowledge in web technologies (HTML, CSS, and JavaScript) for an optimal experience. We conclude by envisioning the scalability of this course to other distributed and remote learning scenarios in academic and professional settings. This is in line with the foreseen future scenario of cross-site interaction mediated through code.

• Cagri Erdem & Alexander Refsum Jensenius (2020). RAW: Exploring Control Structures for Muscle-based Interaction in Collective Improvisation. I Romain Michon & Franziska Schroeder (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. Birmingham City University. ISSN 9781949373998. s. 477–482. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes the ongoing process of developing RAW, a collaborative body–machine instrument that relies on `sculpting' the sonification of raw EMG signals. The instrument is built around two Myo armbands located on the forearms of the performer. These are used to investigate muscle contraction, which is again used as the basis for the sonic interaction design. Using a practice-based approach, the aim is to explore the musical aesthetics of naturally occurring bioelectric signals. We are particularly interested in exploring the differences between processing at audio rate versus control rate, and how the level of detail in the signal––and the complexity of the mappings––influence the experience of control in the instrument. This is exemplified through reflections on four concerts in which RAW has been used in different types of collective improvisation.

• Jorge Poveda Yánez & Alexander Refsum Jensenius (2020). Computer-based synaesthesia and the design of complex methods to approach multimodal realities of dance and music through technology. An interview with Alexander R. Jensenius, Deputy-Director of the RITMO Centre of Excellence of the University of Oslo. Revista de Humanidades Digitales. doi: 10.5944/rhd.vol.5.2020.27029. Fulltekst i vitenarkiv Vis sammendrag

  After producing ground-breaking computer-based tools to advance the study of human movement, such as the video-visualization techniques contained in the Musical-Gestures Toolbox, Alexander Refsum Jensenius has con-tinued to find more creative and analytical possibilities to intersect our understandings of music and dance. In the current context of technology-assisted misappropriation of tradi-tional songs and dances, I interviewed the Deputy Director of the RITMO Centre on how we might revert the link between new technol-ogies and intangible cultural heritage for the benefit of legitimate bearers. Furthermore, in this interview, Alexander out-lines the embodied and interdisciplinary ap-proach towards music that has grounded the course of his career but even more interesting-ly, he offers insights about the future of expe-riencing dance through technology and the possibility of dancing robots.

• Robin Støckert, Andreas Bergsland, Stefano Fasciani & Alexander Refsum Jensenius (2020). Student active learning in a two campus organisation. eLearning and Software for Education. ISSN 2066-026X. 1, s. 612–620. doi: 10.12753/2066-026X-20-080. Fulltekst i vitenarkiv Vis sammendrag

  Higher education is facing disruptive changes in many fields. Students wants to have the option of learning anywhere, anytime and in any format. Universities need to develop and deliver to future students a complete learning ecosystem. At the same time universities are facing challenges such as growing costs and the pressure to give the students the knowledge, competence, skills and ability to continuously adapt to future job environments. As a consequence, many universities are investigating new ways of collaboration and sharing resources to cater to the demands of students, industry and society. An example of this collaboration is a new joint master between the two largest Universities in Norway: University of Oslo (UiO) and Norwegian University of Science and Technology (NTNU). In this paper, we present the lessons learned from almost two years of teaching and learning in the new joint master's programme, "Music, Communication and Technology" (MCT), between NTNU and UiO. This programme is a run in a two-campus learning space built as a two-way, audio-visual, high-quality, low-latency communication channel between the two campuses, called "The Portal". Moreover, MCT is the subject of research for the SALTO (Student Active Learning in a Two campus Organisation) project, where novel techniques in teaching and learning are explored, such as team-based learning (TBL), flipped classroom, and other forms of student active learning. Educational elements in this master, provides the student with 21 century skills and deliver knowledge within humanities, entrepreneurship and technology. We elaborate on the technical, pedagogical and learning space-related challenges toward delivering teaching and learning in these cross-university settings. The paper concludes with a set of strategies that can be used to improve student active learning in different scenarios.

• Robin Støckert, Alexander Refsum Jensenius, Anna Xambó & Øyvind Brandtsegg (2019). A case study in learning spaces for physical-virtual two-campus interaction. European Journal of Higher Education IT – EJHEIT. ISSN 2519-1764. 1. Fulltekst i vitenarkiv Vis sammendrag

  In this paper we present results from our ongoing project Student Active Learning in a Two campus Organization(SALTO). This is funded as part of the Norwegian University of Science and Technology’s (NTNU) Teaching Excellence scheme. The initiative consists of a portfolio of development measures, with the purpose of developing innovative approaches to learning, teaching and assessment. The aim of SALTO is to develop pedagogical strategies for the two-campus master’s program Music, Communication and Technology(MCT). This is a joint program between NTNU and the University of Oslo, with the students being split between the cities of Trondheim and Oslo 500 km apart. The program is built around a shared physical-virtual space -the Portal -with a range of high-quality audiovisual technologies. The SALTO project focuses on how the Portal can be used for all activities in the program, with an emphasis on human-computer interaction, resource sharing and collaboration. This is done by students and teachers exploring educational, methodological, and technological solutions together. As such, the SALTO project uses the Portalas a "living lab", which is constantly evolving and being optimized for student-active learning scenarios. In this paper, we present and discuss three cases from the first year of the project: (1) The MCT Opening Ceremony, (2) A "Christmas concert" between to upper secondary schools in Trondheim and Oslo, (3) An intensive workshop-based course with a mix of preparations, lectures and hands-on exercises. The three cases do in various ways present some of the challenges and possibilities of two-campus teaching.

• Qichao Lan, Jim Tørresen & Alexander Refsum Jensenius (2019). RaveForce: A Deep Reinforcement Learning Environment for Music Generation. I Isabel Barbancho, Lorenzo J. Tardón, Alberto Peinado & Ana M. Barbancho (Red.), SMC 2019 Proceedings of the 16th Sound & Music Computing Conference. Society for Sound and Music Computing. ISSN 9788409085187. s. 217–222. Fulltekst i vitenarkiv
• Ximena Alarcón Diaz & Alexander Refsum Jensenius (2019). “Ellos no están entendiendo nada” [“They are not understanding anything”]: embodied remembering as complex narrative in a Telematic Sonic Improvisation. I Morten Søndergaard & Laura Beloff (Red.), Proceedings of RE:SOUND 2019. British Computer Society (BCS). doi: 10.14236/ewic/resound19.32. Fulltekst i vitenarkiv Vis sammendrag

  INTIMAL is a physical-virtual system for relational listening, exploring the role of the body as interface that keeps memory of place in migratory contexts. The system is developed to integrate the body movements of performers (and their voices) with an oral archive. The system has been informed and tested by nine Colombian migrant women in Europe in a telematic performance between the cities of Oslo, Barcelona and London. In the performance a “complex narrative” emerged, for both the improvisers and the audiences. In this paper, we describe the conditions of the narrative environment, and the embodied expressions that emerged. We reflect on how this distributed embodied expression—through technological mediated sound and movement interactions—might further aid processes of collective remembering and catharsis, in a context of conflict and gendered migration.

• Qichao Lan & Alexander Refsum Jensenius (2019). QuaverSeries: A Live Coding Environment for Music Performance Using Web Technologies. I Anna Xambo Sedo, Sara R. Martin & Gerard Roma (Red.), Proceedings of the International Web Audio Conference. NTNU. Fulltekst i vitenarkiv Vis sammendrag

  QuaverSeries consists of a domain-specific language and a single-page web application for collaborative live coding in music performances. Its domain-specific language borrows principles from both programming and digital interface design in its syntax rules, and hence adopts the paradigm of functional programming. The collaborative environment features the concept of 'virtual rooms', in which performers can collaborate from different locations, and the audience can watch the collaboration at the same time. Not only is the code synchronised among all the performers and online audience connected to the server, but the code executing command is also broadcast. This communication strategy, achieved by the integration of the language design and the environment design, provides a new form of interaction for web-based live coding performances.

• Anna Xambo Sedo, Robin Støckert, Alexander Refsum Jensenius & Sigurd Saue (2019). Facilitating Team-Based Programming Learning with Web Audio. I Anna Xambo Sedo, Sara R. Martin & Gerard Roma (Red.), Proceedings of the International Web Audio Conference. NTNU. s. 2–7. Fulltekst i vitenarkiv Vis sammendrag

  In this paper, we present a course of audio programming using web audio technologies addressed to an interdisciplinary group of master students who are mostly beginners in programming. This course is held in two connected university campuses through a portal space and the students are expected to work in cross-campus teams. The workshop promotes both individual and group work and is based on ideas from science, technology, engineering, arts and mathematics (STEAM), team-based learning and project-based learning. We show the outcomes of this course, discuss the students’ feedback and reflect on the results. We found that it is important to provide individual vs. group work, to use the same code editor for consistent follow-up and to be able to share the screen to solve individual questions. Other aspects inherent to the master (intensity of the courses, coding in a research-oriented program) and to prior knowledge (web technologies) should be reconsidered. We conclude with a wider reflection on the challenges and potentials of using web audio as a programming environment for beginners in STEAM and distance-learning courses.

• Ragnhild Torvanger Solberg & Alexander Refsum Jensenius (2019). Group behaviour and interpersonal synchronization to electronic dance music. Musicae Scientiae. ISSN 1029-8649. 23(1), s. 111–134. doi: 10.1177/1029864917712345. Fulltekst i vitenarkiv Vis sammendrag

  The present study investigates how people move and relate to each other – and to the dance music – in a club-like setting created within a motion capture laboratory. Three groups of participants (29 in total) each danced to a 10-minute-long DJ mix consisting of four tracks of electronic dance music (EDM). Two of the EDM tracks had little structural development, while the two others included a typical “break routine” in the middle of the track, consisting of three distinct passages: (a) “breakdown”, (b) “build-up” and (c) “drop”. The motion capture data show similar bodily responses for all three groups in the break routines: a sudden decrease and increase in the general quantity of motion. More specifically, the participants demonstrated an improved level of interpersonal synchronization after the drop, particularly in their vertical movements. Furthermore, the participants’ activity increased and became more pronounced after the drop. This may suggest that the temporal removal and reintroduction of a clear rhythmic framework, as well as the use of intensifying sound features, have a profound effect on a group’s beat synchronization. Our results further suggest that the musical passages of EDM efficiently lead to the entrainment of a whole group, and that a break routine effectively “re-energizes” the dancing.

• Victor Evaristo Gonzalez Sanchez, Agata Zelechowska & Alexander Refsum Jensenius (2019). Analysis of the Movement-Inducing Effects of Music through the Fractality of Head Sway during Standstill. Journal of Motor Behavior. ISSN 0022-2895. doi: 10.1080/00222895.2019.1689909. Fulltekst i vitenarkiv Vis sammendrag

  The links between music and human movement have been shown to provide insight into crucial aspects of human’s perception, cognition, and sensorimotor systems. In this study, we examined the influence of music on movement during standstill, aiming at further characterizing the correspondences between movement, music, and perception, by analyzing head sway fractality. Eighty seven participants were asked to stand as still as possible for 500 seconds while being presented with alternating silence and audio stimuli. The audio stimuli were all rhythmic in nature, ranging from a metronome track to complex electronic dance music. The head position of each participant was captured with an optical motion capture system. Long-range correlations of head movement were estimated by detrended fluctuation analysis (DFA). Results agree with previous work on the movement-inducing effect of music, showing significantly greater head sway and lower head sway fractality during the music stimuli. In addition, patterns across stimuli suggest a two-way adaptation process to the effects of music, with musical stimuli influencing head sway while at the same time fractality modulated movement responses. Results indicate that fluctuations in head movement in both conditions exhibit long-range correlations, suggesting that the effects of music on head movement depended not only on the value of the most recent measured intervals, but also on the values of those intervals at distant times.

• Anna Xambo Sedo, Sigurd Saue, Alexander Refsum Jensenius, Robin Støckert & Øyvind Brandtsegg (2019). NIME Prototyping in Teams: A Participatory Approach to Teaching Physical Computing. I Marcelo Queiroz & Anna Xambo Sedo (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidade Federal do Rio Grande do Sul. s. 216–221. Fulltekst i vitenarkiv Vis sammendrag

  In this paper, we present a workshop of physical computing applied to NIME design based on science, technology, engineering, arts, and mathematics (STEAM) education. The workshop is designed for master students with multidisciplinary backgrounds. They are encouraged to work in teams from two university campuses remotely connected through a portal space. The components of the workshop are prototyping, music improvisation and reflective practice. We report the results of this course, which show a positive impact on the students’ confidence in prototyping and intention to continue in STEM fields. We also present the challenges and lessons learned on how to improve the teaching of hybrid technologies and programming skills in an interdisciplinary context across two locations, with the aim of satisfying both beginners and experts. We conclude with a broader discussion on how these new pedagogical perspectives can improve NIME-related courses.

• Artur Becker, Henrik Herrebrøden, Victor Evaristo Gonzalez Sanchez, Kristian Nymoen, Carla Maria Dal Sasso Freitas & Jim Tørresen [Vis alle 7 forfattere av denne artikkelen] (2019). Functional Data Analysis of Rowing Technique Using Motion Capture Data. I Grisha Coleman (Red.), Proceedings of the 6th International Conference on Movement and Computing. ACM Publications. ISSN 9781450376549. doi: 10.1145/3347122.3347135. Fulltekst i vitenarkiv Vis sammendrag

  We present an approach to analyzing the motion capture data of rowers using bivariate functional principal component analysis (bfPCA). The method has been applied on data from six elite rowers rowing on an ergometer. The analyses of the upper and lower body coordination during the rowing cycle revealed significant differ- ences between the rowers, even though the data was normalized to account for differences in body dimensions. We make an argument for the use of bfPCA and other functional data analysis methods for the quantitative evaluation and description of technique in sports.

• Cagri Erdem, Katja Henriksen Schia & Alexander Refsum Jensenius (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance. I Federico Visi (Red.), Music Proceedings of the International Conference on New Interfaces for Musical Expression. Universidade Federal do Rio Grande do Sul. Fulltekst i vitenarkiv Vis sammendrag

  What if a musician could step outside the familiar instrumental paradigm and adopt a new embodied language for moving through sound with a dancer in true partnership? And what if a dancer’s body could coalesce with a musician’s skills and intuitively render movements into instrumental actions for active sound-making?

• Cagri Erdem, Katja Henriksen Schia & Alexander Refsum Jensenius (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance. I Marcelo Queiroz & Anna Xambo Sedo (Red.), Proceedings of the International Conference on New Interfaces for Musical Expression. Universidade Federal do Rio Grande do Sul. s. 477–482. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes the process of developing a shared instrument for music–dance performance, with a particular focus on exploring the boundaries between standstill vs motion, and silence vs sound. The piece Vrengt grew from the idea of enabling a true partnership between a musician and a dancer, developing an instrument that would allow for active co-performance. Using a participatory design approach, we worked with sonification as a tool for systematically exploring the dancer’s bodily expressions. The exploration used a “spatiotemporal matrix,” with a particular focus on sonic microinteraction. In the final performance, two Myo armbands were used for capturing muscle activity of the arm and leg of the dancer, together with a wireless headset microphone capturing the sound of breathing. In the paper we reflect on multi-user instrument paradigms, discuss our approach to creating a shared instrument using sonification as a tool for the sound design, and reflect on the performers’ subjective evaluation of the instrument.

• Pritty Patel-Grosz, Patrick Georg Grosz, Tejaswinee Kelkar & Alexander Refsum Jensenius (2018). Coreference and disjoint reference in the semantics of narrative dance. I Uli Sauerland & Stephanie Solt (Red.), Proceedings of Sinn und Bedeutung 22, vol. 2, ZASPiL 61. Leibniz-Zentrum Allgemeine Sprachwissenschaft (ZAS). s. 199–216. Fulltekst i vitenarkiv
• Tejaswinee Kelkar, Udit Roy & Alexander Refsum Jensenius (2018). Evaluating a collection of Sound-Tracing Data of Melodic Phrases. I Emilia Gómez, Xiao Hu, Eric Humphrey & Emmanouil Benetos (Red.), Proceedings of the 19th International Society for Music Information Retrieval Conference. Institut de Recherche et Coordination Acoustique/Musique. ISSN 9782954035123. Fulltekst i vitenarkiv Vis sammendrag

  Melodic contour, the ‘shape’ of a melody, is a common way to visualize and remember a musical piece. The purpose of this paper is to explore the building blocks of a future ‘gesture-based’ melody retrieval system. We present a dataset containing 16 melodic phrases from four musical styles and with a large range of contour variability. This is accompanied by full-body motion capture data of 26 participants performing sound-tracing to the melodies. The dataset is analyzed using canonical correlation analysis (CCA), and its neural network variant (Deep CCA), to understand how melodic contours and sound tracings relate to each other. The analyses reveal non-linear relationships between sound and motion. The link between pitch and verticality does not appear strong enough for complex melodies. We also find that descending melodic contours have the least correlation with tracing.

• Victor Evaristo Gonzalez Sanchez, Agata Zelechowska & Alexander Refsum Jensenius (2018). Correspondences Between Music and Involuntary Human Micromotion During Standstill. Frontiers in Psychology. 9. doi: 10.3389/fpsyg.2018.01382. Fulltekst i vitenarkiv Vis sammendrag

  The relationships between human body motion and music have been the focus of several studies characterizing the correspondence between voluntary motion and various sound features. The study of involuntary movement to music, however, is still scarce. Insight into crucial aspects of music cognition, as well as characterization of the vestibular and sensorimotor systems could be largely improved through a description of the underlying links between music and involuntary movement. This study presents an analysis aimed at quantifying involuntary body motion of a small magnitude (micromotion) during standstill, as well as assessing the correspondences between such micromotion and different sound features of the musical stimuli: pulse clarity, amplitude, and spectral centroid. A total of 71 participants were asked to stand as still as possible for 6 min while being presented with alternating silence and music stimuli: Electronic Dance Music (EDM), Classical Indian music, and Norwegian fiddle music (Telespringar). The motion of each participant's head was captured with a marker-based, infrared optical system. Differences in instantaneous position data were computed for each participant and the resulting time series were analyzed through cross-correlation to evaluate the delay between motion and musical features. The mean quantity of motion (QoM) was found to be highest across participants during the EDM condition. This musical genre is based on a clear pulse and rhythmic pattern, and it was also shown that pulse clarity was the metric that had the most significant effect in induced vertical motion across conditions. Correspondences were also found between motion and both brightness and loudness, providing some evidence of anticipation and reaction to the music. Overall, the proposed analysis techniques provide quantitative data and metrics on the correspondences between micromotion and music, with the EDM stimulus producing the clearest music-induced motion patterns. The analysis and results from this study are compatible with embodied music cognition and sensorimotor synchronization theories, and provide further evidence of the movement inducing effects of groove-related music features and human response to sound stimuli. Further work with larger data sets, and a wider range of stimuli, is necessary to produce conclusive findings on the subject.

Se alle arbeider i NVA

• Alexander Refsum Jensenius (2024). Sonic Design: Explorations Between Art and Science. Springer Nature. ISBN 9783031578922. 347 s. doi: 10.1007/978-3-031-57892-2. Fulltekst i vitenarkiv Vis sammendrag

  This edited volume is based on a selection of contributions at an international seminar organized in May 2022 to celebrate the achievements of Professor Godøy upon his retirement from the University of Oslo. The 17 chapters cover different approaches to sonic design practice and theory, giving readers historical backdrops and an overview of the current state of both artistic and scientific research in the field.

• Alexander Refsum Jensenius (2022). Sound Actions: Conceptualizing Musical Instruments. MIT Press. ISBN 9780262544634. 304 s. doi: 10.7551/mitpress/14220.001.0001. Fulltekst i vitenarkiv Vis sammendrag

  A techno-cognitive look at how new technologies are shaping the future of musicking. “Musicking” encapsulates both the making of and perception of music, so it includes both active and passive forms of musical engagement. But at its core, it is a relationship between actions and sounds, between human bodies and musical instruments. Viewing musicking through this lens and drawing on music cognition and music technology, Sound Actions proposes a model for understanding differences between traditional acoustic “sound makers” and new electro-acoustic “music makers.” What is a musical instrument? How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? The answers to these pivotal questions entail a meeting point between interactive music technology and embodied music cognition, what author Alexander Refsum Jensenius calls “embodied music technology.” Moving between objective description and subjective narrative of his own musical experiences, Jensenius explores why music makes people move, how the human body can be used in musical interaction, and how new technologies allow for active musical experiences. The development of new music technologies, he demonstrates, has fundamentally changed how music is performed and perceived.

Se alle arbeider i NVA

• Enrique Encinas, Andrew Morrison, Alexander Refsum Jensenius, Markéta Dolejšová & John Hill (2026). Rhythm and Residue: Vyping as Prompting Inside the Post-Discursive Interface. doi: https:/rhyres.craitr.no. Fulltekst i vitenarkiv Vis sammendrag

  Prompt engineering strategies emphasise clarity, specificity, and well-structured input, on the assumption that large language models (LLMs) require clean input to interpret user intent. But LLMs are pattern interpolators: they “absorb” noise through statistical reconstruction rather than strict symbol matching. Text-centric HCI has studied this tolerance for two decades without integrating it into prompt engineering as a resource. We introduce vyping as an intentional mode of prompting in which one types into LLMs at the speed of thought, without correction. We developed vyping through sustained first-person inquiry. It can be seen as a micro-practice inside a broader post-discursive turn in which meanings increasingly travel as rhythms and patterns through latent-space proximity rather than as precisely-formed symbols. The mismatch between current LLM interfaces and their (human) users has led to two common layers in implementation: (1) an orthographic residue at the interface (autocorrect, spellcheck, tidy-prompt guides), and (2) an impairment parse shadow at the training layer, a form of overalignment in which the model reads orthographic deviation as a sign that something is wrong with the user. Overall, we offer three attunements (ease, reach, and pulse) as alternatives to efficiency-first prompt engineering, and situate the practice within critical HCI traditions of seamful, frictional, and embodied interaction. The critique is structured around a seed prompt that suspends the impairment parse and makes vyping livable; its section headings are taken from the prompt’s own rules. A copy of the seed prompt is provided at the end.

• Alexander Refsum Jensenius (2026). Jeg har aldri opplevd studenter som er mer KI-kritiske enn nå. Fulltekst i vitenarkiv Vis sammendrag

  Det er ikke dagens studenter som har et problem. Det er 50-åringene midt i arbeidslivet, uten KI-ballast, som må omstille seg.

• Alexander Refsum Jensenius (2026). A summer of Still Standing. doi: https:/www.uio.no/ritmo/english/news-and-events/events/food-and-paper/2026/20260916_alexander-refsum-jensenius/index.html. Fulltekst i vitenarkiv Vis sammendrag

  In this presentation, I will tell about how I spent the summer on, at least partly, sitting still while working on data of myself and others standing still. This is part of completing my upcoming book Still Standing, which tells the story about how much a human body moves when it is trying not to. The empirical material behind the book spans fifteen years of research: a three-person artistic project begun in 2011, seven Norwegian Championships of Standstill with more than 700 participants, a laboratory study of headphones against loudspeakers, a cross-cultural listening study, a year of daily standstills in 2023, and a group performance at a public library. One of the research questions is how much people move when they try to stand still. My updated number is about 5 millimetres per second, measured at the head. Most of the book is about explaining how I reached that number and what it takes to make people move more (or sometimes less). After my summer adventure, I now have most of the data deposited online in the Oslo Standstill Database, scripts and reports documenting every number in the book, and a new Python toolbox, micromotion, to support such analyses.

• Alexander Refsum Jensenius, Stefano Fasciani, Anna-Maria Christodoulou, Enrique Encinas & Keith Mellingen (2026). Building a Norwegian Ecosystem for AI and Creativity. doi: https:/alexarje.github.io/mishmash-machines-kristiansand2026/. Fulltekst i vitenarkiv Vis sammendrag

  This roundtable discussion focused on the AI infrastructure that Norwegian higher education, students, teachers, freelancers, and the public and private sectors have access to today, and how MishMash can help improve the situation.

• Enrique Encinas & Alexander Refsum Jensenius (2026). The Perfect Wrong Note: Vyping and the Keyboard as Musical Interface for Human-LLM Interaction. doi: 10.5281/zenodo.20784433. Fulltekst i vitenarkiv Vis sammendrag

  Human interaction with large language models (LLMs) is commonly framed as information exchange, optimized for efficiency and correctness. This paper proposes a different framing: keyboard-as-instrument, where typing to an LLM becomes a form of musical practice. Drawing on the lineage of keyboard instruments, the action-sound framework, and the aesthetics of failure in jazz improvisation and glitch music, the paper introduces vyping (typing without looking) as a technique that treats degraded input as an expressive gesture. When a person vypes, inter-onset intervals and keystroke dynamics carry embodied information that the LLM can integrate, in a process closer to musical comping (responsive accompaniment) than to improvisation proper. Three artifacts (ll00mtube, clix-vibe, and KeyMeter) illustrate this approach, making the temporal and sonic dimensions of typing visible and audible. The paper argues that typos can function as grace notes: productive deviations that open new directions. It proposes reverence (nuance, grace, and respect) as a design orientation for human-AI interaction, while acknowledging the discomfort of caring for a tool entangled with extractive labor and concentrated corporate power.

• Alexander Refsum Jensenius (2026). MishMash: Centre for AI and Creativity. doi: 10.5281/zenodo.22643770. Fulltekst i vitenarkiv Vis sammendrag

  An introduction to MishMash, the Centre for AI and Creativity: a national research centre that explores, creates and reflects on AI through creative practices in music, visual art, literature, games and performance, with more than 20 partners across Norway.

• Alexander Refsum Jensenius (2026). Kreativ KI: en introduksjon. Fulltekst i vitenarkiv Vis sammendrag

  En innspilt introduksjon på 20 minutter til kunstig intelligens, kreativitet og kreativ KI, laget for emnet FIL1010 Redelig bruk av kunstig intelligens i høyere utdanning ved Universitetet i Oslo. Videoen gir et felles begrepsapparat uten krav om forkunnskaper i programmering eller maskinlæring: hva vi mener med KI i 2026, hva kreativitet er, og hvordan de to møtes i forskning og praksis.

• Alexander Refsum Jensenius (2026). AI, music education and innovative practices. Fulltekst i vitenarkiv Vis sammendrag

  MishMash, the Centre for AI and Creativity, is Norway's national research centre for AI in the creative fields, funded by the Research Council of Norway from 2025 to 2030. In this presentation for the Association of Nordic Music Academies I introduce the centre and what it can offer higher music education: research on AI in composition, performance and music education, tools and datasets, and ways for conservatoires to take part.

• Alexander Refsum Jensenius (2026). Reflections on Live Concert Research. Fulltekst i vitenarkiv Vis sammendrag

  What can a concert tell us that a laboratory cannot? Drawing on the Sound Spaces work at RITMO, I reflect on live concert research as a meeting point for acoustics, physics, psychology and physiology, and on what interdisciplinarity costs and gives. I contrast exploratory research with hypothesis-driven designs, and technology readiness with what one might call artistic readiness, using our research concerts as examples.

• Alexander Refsum Jensenius, Joel Clinton Glover, Finn Upham & Annabel Balean Guaita (2026). MusicLab Listening Body Bergen Panel Discussion. doi: https:/www.uio.no/ritmo/english/projects/musiclab/2026/listening-body-bergen/index.html. Fulltekst i vitenarkiv Vis sammendrag

  Panel discussion at the MusicLab Listening Body research concert in Bergen, where an audience with and without Parkinson's disease heard classical piano works framed by meditation and attentive listening while wearing sensor vests that recorded micromotion, breathing and heart rate, and the room was filmed with thermal video. The conversation focused on what attentive listening does to the body and brain in a concert, what the measurements can and cannot show, and what the recordings may mean for music used therapeutically by people with Parkinson's disease.

• Alexander Refsum Jensenius, Joel Clinton Glover, Finn Upham & Annabel Balean Guaita (2026). MusicLab Listening Body Oslo Panel Discussion. doi: https:/www.uio.no/ritmo/english/projects/musiclab/2026/listening-body-oslo/index.html. Fulltekst i vitenarkiv Vis sammendrag

  Panel discussion at the MusicLab Listening Body research concert in Oslo, where an audience with and without Parkinson's disease heard classical piano works framed by meditation and attentive listening while wearing sensor vests that recorded micromotion, breathing and heart rate, and the room was filmed with thermal video. The conversation focused on what attentive listening does to the body and brain in a concert, what the measurements can and cannot show, and what the recordings may mean for music used therapeutically by people with Parkinson's disease.

• Alexander Refsum Jensenius, Ingrid Romarheim Haugen, Arnulf Christian Mattes & Olivier Lartillot (2026). MishMash Work Package 6: AI for Cultural Heritage. doi: https:/www.uio.no/ritmo/english/news-and-events/events/conferences/2026/daim/index.html. Fulltekst i vitenarkiv Vis sammendrag

  Alexander Refsum Jensenius opened Day 2 by welcoming participants to the University of Oslo and introducing MishMash—the Centre for AI & Creativity, a national consortium led by RITMO and bringing together more than 200 researchers and practitioners. The centre examines the possibilities, limitations, and wider consequences of creative AI through seven thematic work packages. Its activities follow three interconnected approaches: creating new AI systems and practices, exploring their uses in different contexts, and reflecting critically on their cultural and societal implications. Jensenius also outlined MishMash’s role, alongside the National Library of Norway and the Department of Musicology, in shaping the symposium and situating its focus on music and cultural heritage within this broader interdisciplinary programme. Ingrid Romarheim Haugen, Arnulf Mattes, and Olivier Lartillot then introduced Work Package 6: AI for Cultural Heritage. WP6 starts from the central role of archives, libraries, and museums in preserving and communicating human culture, and from the rapidly growing scale of their digital collections. The National Library provides an important foundationthroughitsextensivedigitisationprogrammeandDigitalHumanitiesLaboratory, butmanyresourcesremaindistributedacrossnationalandlocalinstitutions. WP6therefore seeks to improve their discovery, organisation, interpretation, and presentation, while contributing to a more coherent digital framework connected to initiatives such as the European Cultural Heritage Cloud. The work package proposes hybrid AI methods combining machine learning with mu- sicological knowledge and cognition-based symbolic approaches. Its current activities include the transcription and segmentation of audio collections, computational analysis of Norwegian folk music and Hardanger fiddle repertoire, metadata inference, and the development and interlinking of digital work catalogues. These activities also connect with the National Library’s digitisation programme and the proposed MusikkData research infrastructure. Particular attention is given to minority cultural expressions, including Sámi joik and world chant traditions. The speakers also proposed several new topics that could be introduced into ongoing discussions within WP6. These included generating richer metadata from basic music catalogues through computational analysis; linking music transcription and analysis with metadata and machine-readable musicological and editorial discourse through semantic- web technologies; and automatically detecting the reuse of musical material across a repertoire. Grieg’s Peer Gynt, in connection with the National Ibsen Year in 2028, was mentioned as one possible setting in which some of these ideas might be developed. 27 The presentation illustrated the broader scope of WP6 through projects involving different cultural materials and institutions. These included the reconstruction of provenance and circulation networks behind the fragmented Schøyen Collection; semantic image search across the collections of the National Museum and other institutions; the Phygital Lab’s integration of physical and digital museum experiences; and the preservation and dissemination of craft knowledge from the archive of the Women’s School of Applied Arts and Crafts. Together, these examples showed how methods developed for one type of collection may inform work in other areas of cultural heritage. Finally, the speakers stressed that technological development must be accompanied by ethical, legal, and institutional reflection. Public cultural institutions were presented as having a leading role in preventing unchecked or exploitative uses of AI, protecting minority cultural expressions, and supporting rights management, respectful attribution, and responsible reuse. The three co-leaders brought complementary perspectives to these questions: Lartillot through signal processing and computational music analysis, Mattes through musicological and archival research, and Romarheim Haugen through library infrastructure and policy. As an opening overview, the session established several of the themes developed throughout the remainder of Day 2.

• Alexander Refsum Jensenius (2026). AI as a catalyst for more humanities research. doi: https:/dhnb.eu/onwards-and-outwards-dhnb-celebrates-10-years/. Fulltekst i vitenarkiv Vis sammendrag

  I presented my research on embodied music cognition at the first DHN conference in Oslo in 2016. Ten years later, I direct MishMash Centre for AI and Creativity, where the arts and humanities sit inside a national AI programme for the first time. This short provocation asks whether there is still a need for "digital humanities". My claim is that AI is a catalyst for more humanities research, and that the analogue humanities matter more than ever.

• Olivier Lartillot, Pierre Beauguitte, Ingrid Romarheim Haugen, Alexander Refsum Jensenius & Yngvar Kjus (2026). Symposium on Digital and AI Musicology. Fulltekst i vitenarkiv Vis sammendrag

  Current research on the use of computational methods and AI in music libraries and musicology. This event brings together key members of the European consortium EarlyMuse, in coordination with MishMash – Centre for AI & Creativity, particularly its thematic area on cultural heritage. It presents recent work on digital archives, music information retrieval, and AI-based approaches to musicological and heritage research. Participants will also have the opportunity to engage with new and insightful reviews in computational musicology. The programme introduces and discusses a range of core technologies—including music transcription (from both score images and audio), music analysis, and the transformative potential of rich metadata—while highlighting strategies for interconnecting disparate music collections so that their metadata can meaningfully interact.

• Olivier Lartillot & Alexander Refsum Jensenius (2026). DAIM 2026: Symposium on Digital and AI Musicology. doi: 10.5281/ZENODO.22643770. Fulltekst i vitenarkiv Vis sammendrag

  This report presents extended summaries of the presentations and discussions at the DAIM 2026 Symposium on Digital and AI Musicology, held on 8–9 June 2026 at the National Library of Norway and the University of Oslo. Organized by RITMO, the MishMash Centre for AI and Creativity, and the National Library of Norway, the symposium brought together the COST Action EarlyMuse and MishMash Work Package 6 on AI for Cultural Heritage. The contributions examine how computational methods and artificial intelligence can support the preservation, transcription, analysis, discovery, and interconnection of musical heritage. Topics include digital music collections, Optical Music Recognition, audio transcription, chant and Sámi yoik, musical similarity and pattern discovery, Linked Open Data, metadata standards, and sustainable research infrastructures. Discussions address scholarly validation, provenance, cultural context, and the rights of creators and communities. Compiled and edited by Olivier Lartillot, the report synthesizes presentation abstracts, slides, and recorded talks. It includes introductions to both days, presentation and panel summaries, links to related resources, contributor biographies, and the symposium programme, alongside a tribute to Eleanor Selfridge-Field.

• Alexander Refsum Jensenius, Bálint Laczkó, Poutaraud, Joachim, Widmer, Marcus, Furmyr, Frida & Jinyue Guo [Vis alle 9 forfattere av denne artikkelen] (2026). musicalgestures: A Python toolbox for visualising and analysing music-related video recordings. doi: 10.5281/zenodo.22287338. Fulltekst i vitenarkiv Vis sammendrag

  Software. This is the Python version of the Musical Gestures Toolbox, containing a complete solution for loading different types of video recordings (including 360-degree videos). It was originally built to analyse music-related videos, but it works well for many other applications. It includes a large collection of tools for visualising human body motion, including average images, motion images, motion history images, motiongrams, and videograms. It also includes spatial–temporal tools for creating motion history videos. Finally, it wraps different state-of-the-art pose estimation methods (CV2 and MediaPipe) and derives various quantity-of-motion measures.

• Alexander Refsum Jensenius, Finn Upham, Agata Zelechowska, Victor Evaristo Gonzalez Sanchez, Dana Swarbrick & Maham Riaz (2026). micromotion: A Python toolbox for analysing human micromotion in motion time series. doi: 10.5281/zenodo.22080495. Fulltekst i vitenarkiv Vis sammendrag

  Software. One implementation of quantity of motion — the average speed of a body part, band-limited to 0.2-5 Hz, in millimetres per second — for optical marker data, body-worn accelerometers and force-plate centre of pressure, together with the readers, resampling rules, scaling measures and alignment methods that surround it.

• Alexander Refsum Jensenius, Bilge Serdar Göksülük, Jinyue Guo, Kari Anne Vadstensvik Bjerkestrand, Victoria Johnson & Rao, Shabari (2026). Stillness 2025 (Deichman): a group standstill performance with wearable physiology (Equivital). doi: 10.5281/zenodo.21964815. Fulltekst i vitenarkiv Vis sammendrag

  A dataset captured at the Stillness 2025 performance at Deichman Bjørvika in Oslo. 27 people took part in a 2-hour public standstill/walking performance on 9 October 2025. 16 of them wore Equivital EQ02 LifeMonitor chest sensors and are included in this dataset. Each vest logged 2-lead ECG (256 Hz), tri-axial accelerometer (256 Hz), thoracic respiration (25.6 Hz), beat-to-beat RR intervals, and a 15-second device summary (heart rate, body position, motion state, skin temperature, quality flags). A processed 5-second quantity-of-motion table is provided for all 16 participants. Timestamps are UTC, and every file is trimmed to the 2025-10-09 performance window; the multi-day pre-performance setup recordings are not part of this deposit.

• Alexander Refsum Jensenius, Arve Voldsund, Bjørn Arne Løken & Rolf Inge Godøy (2026). Cymbal percussion: multimodal motion capture, audio and video. doi: 10.5281/zenodo.21710617. Fulltekst i vitenarkiv Vis sammendrag

  Multimodal recordings of cymbal-playing gestures captured at the fourMs Lab, University of Oslo, on 12 April 2011. A percussionist performed a structured set of cymbal strokes (flams, rolls, staccato strokes, suspended-cymbal attack/nonattack/tremolo strokes and a reference take, at several dynamic levels, with and without damping, plus a free improvisation), recorded simultaneously with two motion capture systems and synchronised audio and video.

• Alexander Refsum Jensenius, Kari Anne Vadstensvik Bjerkestrand & Victoria Johnson (2026). Sverm: Motion capture of human micromotion during standstill. doi: 10.5281/zenodo.22045791. Fulltekst i vitenarkiv Vis sammendrag

  This is an umbrella record for the artistic-research project Sverm (fourMs Lab, University of Oslo), in which musicians and dancers stood still on the floor for six to ten minutes at a time, and once for fifteen minutes, while their micromotion was tracked with a Qualisys infrared system.

• Ragnhild Torvanger Solberg & Alexander Refsum Jensenius (2026). Dancing to electronic dance music. doi: 10.5281/zenodo.21964844. Fulltekst i vitenarkiv Vis sammendrag

  This is an umbrella record for Ragnhild Torvanger Solberg's two laboratory studies of people dancing to electronic dance music, recorded at the fourMs Lab, University of Oslo, in June 2014 and August 2015. It holds no data of its own: the two studies are deposited separately, and each is self-contained.

• Voldsund, Arve, Stein Helge Solstad, Alexander Refsum Jensenius & Rolf Inge Godøy (2026). Pilot study: jazz guitar motion capture (Stein Helge Solstad, 2012). doi: 10.5281/zenodo.21360544. Fulltekst i vitenarkiv Vis sammendrag

  Motion capture data from a pilot study with jazz guitarist Stein Helge Solstad, recorded at the fourMs Lab, University of Oslo, on 6 March 2012 by Alexander Refsum Jensenius and Rolf Inge Godoy. A single take (pilotSteinHelgeSolstad0011, about 31 seconds) captures the guitarist playing various musical phrases. Motion was recorded with a 9-camera Qualisys optical infrared system at 100 Hz using 23 reflective markers placed on the performer and the instrument (guitar strap, bridge and headstock, head, shoulders/torso, and both hands/arms), synchronised with audio and video. The package provides the raw Qualisys capture (QTM) plus TSV and C3D exports of the 3D marker data, a stereo WAV audio file, an H.264 MP4 video, and reference photographs. Note that the TSV mocap export covers a trimmed window (1199 frames from frame 389 onward, about 12 seconds) while the audio and video run the full take.

• Alexander Refsum Jensenius (2026). William Westney at the fourMs Lab (2010). doi: 10.5281/zenodo.22134130. Fulltekst i vitenarkiv Vis sammendrag

  Pianist William Westney captured at the fourMs Lab, University of Oslo, in February 2010, across three performance settings: EXPERIMENT: marker-based Qualisys motion capture of 8 takes (Liszt 'Mephisto Waltz' a/b and Harold Arlen 'That Old Black Magic' in dynamic 1/2/3 and emotional angry/sad/happy variations) as raw Qualisys .qtm, exported 3-D marker trajectories .tsv, synchronised audio .wav and video .mp4, plus per-take and per-marker plots CONCERT REHEARSAL: a full multi-camera run-through of the concert programme WITHOUT an audience PUBLIC CONCERT: with an audience. Rehearsal and concert cover the four concert works (Haydn, Liszt 'Mephisto Waltz', Gershwin, 'Over the Rainbow') in up to five synchronised camera views (side, above, face, cam1, cam2) at 720x576/25fps; the Mephisto Waltz appears in all three settings. Documentation includes a panel discussion (Grund/Westney/Jensenius) with a transcript, the concert programme, and photographs. The event was designed to study the performer's movement with and without an audience.

• Alexander Refsum Jensenius (2026). The Oslo Standstill Database: motion capture and multimodal recordings of human standstill and micromotion. doi: 10.5281/zenodo.21964888. Fulltekst i vitenarkiv Vis sammendrag

  Umbrella record for the Oslo Standstill Database, a corpus of seven collections documenting human standstill and involuntary micromotion, gathered at the fourMs lab, RITMO Centre, and the Department of Musicology at the University of Oslo, 2011–2025.

• Alexander Refsum Jensenius (2026). Championships of Standstill. doi: 10.5281/zenodo.22035479. Fulltekst i vitenarkiv Vis sammendrag

  This is an umbrella record for the Championship of Standstill, a recurring public experiment at the University of Oslo from 2012 to 2024. Members of the public were asked to stand as still as possible, in groups, while listening to silence interleaved with music and other sound stimuli; the stillest won. This deposit holds no motion capture of its own: each of the seven editions is deposited separately, is self-contained, and can be cited and versioned on its own.

• Alexander Refsum Jensenius (2026). Mobile-phone accelerometer comparison (2026): four Samsung phones for standstill micromotion. doi: 10.5281/zenodo.21964230. Fulltekst i vitenarkiv Vis sammendrag

  A controlled cross-device consistency test of the accelerometers in four Samsung phones (Galaxy A52s 5G, S21, S23 Ultra, S26 Ultra), logged with Physics Toolbox Sensor Suite at a nominal 10 Hz. Two recordings per phone: Still on the floor with triple-clap sync markers - the sensor noise floor Exercises -> standstill -> shaking - working range and saturation.

• Alexander Refsum Jensenius (2026). KI++. Fulltekst i vitenarkiv Vis sammendrag

  Kunstig intelligens er allerede i musikken, men hva gjør den med oss som lytter, spiller og lager? I dette innlegget viser jeg eksempler fra forskningen på RITMO og det nye MishMash-senteret: forskningskonsertene i MusicLab, små musikkapper som Tap Bloom, Pinch Bass og Firefly, og hva som skjer når KI blir noe mer enn et verktøy.

• Alexander Refsum Jensenius (2026). Some thoughts about artistic research. doi: https:/www.hf.uio.no/imv/english/research/news-and-events/events/Research-Forum/research-forum-on-artistic-research-artificial-int.html. Fulltekst i vitenarkiv Vis sammendrag

  Is artistic research research? And if so, of what kind? In this short talk, I propose the Artistic Readiness Level (ARL), from an initial artistic impulse to a consolidated and reproducible artistic work with demonstrated impact, alongside the technology and societal readiness levels used in research funding, and ask whether music in a given project is a subject, object or method.

• Alexander Refsum Jensenius, Finn Upham & Kjell Andreas Oddekalv (2026). MusicLab Sinsenfist Panel Discussion. doi: https:/www.uio.no/ritmo/english/projects/musiclab/2026/sinsenfist/index.html. Fulltekst i vitenarkiv Vis sammendrag

  Panel discussion during the MusicLab research concert with the hip-hop group Sinsenfist, in which musicians and audience members were recorded with audio, video and motion sensors. Alexander Refsum Jensenius moderated the conversation with researchers Finn Upham and Kjell Andreas Oddekalv about what happens in the bodies of those who play and those who listen during a live performance, and what the concert measurements can tell us.

• Alexander Refsum Jensenius (2026). Who is actually doing the creating? Fulltekst i vitenarkiv Vis sammendrag

  When AI enters a creative process, authorship does not disappear, it redistributes. Who is actually doing the creating? In this keynote I present MishMash, the Norwegian Centre for AI and Creativity, show examples of AI in creative work from our research, and argue that the risk is not that AI replaces human creativity but that organisations stop noticing whose judgement a tool encodes and whose is quietly displaced.

• Alexander Refsum Jensenius (2026). Musikk, KI og klassisk musikk. Fulltekst i vitenarkiv Vis sammendrag

  Hva kan kunstig intelligens bety for en musikkinstitusjon som setter klassisk musikk i sentrum? Med utgangspunkt i forskningen ved RITMO og MishMash-senteret går jeg gjennom muligheter i klassisk musikundervisning, fra forberedelse og samspill til vurdering: digitale akkompagnatører, analyse av øvingsvideo for skadeforebygging, transkripsjon og notasjon, og KI-modeller trent på komponister og utøvere. Mer maskin kan også bety mer menneske.

• Bilge Serdar Göksülük, Alexander Refsum Jensenius, Maham Riaz, Jinyue Guo, Aikaterini Teleli & Margarida Leal (2026). Improvisation with the Muzziballs. Fulltekst i vitenarkiv Vis sammendrag

  An improvisation with Muzziballs, ball-shaped musical instruments developed in collaboration between Muzziball AS and RITMO, in which sound is shaped by how each ball is moved and handled. Performed at the Department of Musicology's department concert in the ZEB building on 13 April 2026 by Bilge Serdar, Maham Riaz, Arthur Guo, Alexander Refsum Jensenius, Katerina Teleli and Margarida Leal.

• Alexander Refsum Jensenius (2026). RITMO and MishMash: AI and creativity research in Norway, and possibilities for collaboration with South Korea. Fulltekst i vitenarkiv Vis sammendrag

  South Korea is one of Norway's priority partner countries outside Europe, and few Norwegian research groups collaborate with Korean AI research. In this presentation for the Ministry of Education's special envoy at the Norwegian embassy in Seoul, HK-dir and the Research Council of Norway, I introduce RITMO, the Centre for Interdisciplinary Studies in Rhythm, Time and Motion, and MishMash, the national Centre for AI and Creativity, and outline the centre's plans for international collaboration and the existing contacts among MishMash partners with Korean institutions, research organisations and artists.

• Alexander Refsum Jensenius (2026). Kreativ KI i utdanning. doi: https:/www.uio.no/for-ansatte/enhetssider/arrangement/2026/idemote/utdanning-1.html. Fulltekst i vitenarkiv Vis sammendrag

  Hvordan kan KI-agenter brukes i undervisning, og hva bør vi holde fast ved? Med utgangspunkt i en åpen lærebok med web-apper, en wiki og et åpent verktøy for videoanalyse i emnet MUS2640 forteller jeg om drømmen fra 2003 om et åpent økosystem for læremidler, og hvordan agenter nå gjør den mulig. Prinsippet er KI utenfor timen og mennesker i timen: agentene forbereder, studentene og underviserne møtes.

• Alexander Refsum Jensenius (2026). Kreativ administrativ KI. doi: https:/www.uio.no/for-ansatte/enhetssider/arrangement/2026/idemote/adm-1.html. Fulltekst i vitenarkiv Vis sammendrag

  Hva er forskjellen på en KI-assistent og en KI-agent, og hva betyr den for administrativ databehandling ved et universitet? Med utgangspunkt i egne erfaringer med agenter i forskning og administrasjon går jeg gjennom hva agentene trenger for å virke, hva som er god praksis, og hvordan samskaping med en agent ser ut i praksis, med eksempler fra reiseregninger, lederstøtte, CV-er, personaldata, styrepapirer, nett og arkiv. Innlegget ender i tre ønsker: tilgang til egne data gjennom API og nedlasting, systemer som kan føre dialog, og rom for agenter.

• Alexander Refsum Jensenius (2026). Exploring human micromotion (workshop). Fulltekst i vitenarkiv Vis sammendrag

  In this workshop, I will lead the participants into exploring their own micromotion through standstill and slow-movement exercises. The focus will be on both physical and mental stillness. In the end, we will explore how mobile phone-based apps can be used for sonic microinteraction.

• Alexander Refsum Jensenius (2026). How AI can help us be more human. Fulltekst i vitenarkiv Vis sammendrag

  I will talk about how developing AI systems over the last 25 years has helped me better understand how humans move, act, think, and feel. Now more than ever, we need to incorporate human perspectives into new AI developments, while also critically exploring new AI-based systems and reflecting on how they change humanity in different ways.

• Alexander Refsum Jensenius (2026). MishMash, one of the new Norwegian National AI Centres. doi: https:/www.sure-ai.no/events/sure-ai-annual-conference-2026/. Fulltekst i vitenarkiv Vis sammendrag

  MishMash is one of the six national AI research centres funded by the Research Council of Norway from 2025, and the only one that joins technology with creativity. In this presentation, in the showcase of the national centres, I introduce the centre: seven work packages spanning music, visual art, literature, games, performance and human-centred AI; a consortium of more than 20 partners across Norway; and the argument that creative practice is both a testbed for AI systems and a driver of new AI research.

• Alexander Refsum Jensenius (2026). MishMash-søknaden og MishMash-konsortiet: muligheter for videreutvikling. Fulltekst i vitenarkiv Vis sammendrag

  Hvordan ble MishMash-søknaden til, og hva kan konsortiet bak senteret bety for kunstnerisk utviklingsarbeid i Norge? I dette innlegget forteller jeg om arbeidet med søknaden til Forskningsrådets utlysning av nasjonale KI-sentre, om hvordan konsortiet med mer enn 20 partnere ble satt sammen, og om mulighetene for at kunstneriske institusjoner kan bruke senteret til å utvikle egne prosjekter og søknader videre.

• Alexander Refsum Jensenius, Ida Jahr & Eskil Muan Sæther (2026). MishMash@NARMA. Fulltekst i vitenarkiv Vis sammendrag

  En presentasjon om hva KI egentlig er, hvordan det brukes og hva det betyr i kunst, kultur og kreativitet.

• Alexander Refsum Jensenius (2026). MishMash: Centre for AI and Creativity - Current status. Fulltekst i vitenarkiv Vis sammendrag

  An update on the development of MishMash. The centre aims to create, explore, and reflect on AI for, through, and in creative practices. More than 200 researchers investigate AI’s impact on creative processes, develop innovative co-creative AI systems and educational strategies, and address AI’s ethical, cultural, legal, and societal implications in creative domains.

• Alexander Refsum Jensenius (2026). Trenger vi musikere i fremtiden? Utfordringer og muligheter med musikk og KI. Fulltekst i vitenarkiv Vis sammendrag

  Kunstig intelligens påvirker det meste om dagen, også musikklivet og musikkbransjen. Hva skjer når KI topper hitlistene og alle kan lage sin egen musikk? Vil KI ta over alt, eller blir vi lei og vil ha mer menneskeskapt musikk? Hva er mulighetene for at KI-generert musikk kan bidra positivt til å hjelpe folk med f.eks. ADHD til å konsentrere seg og Parkinson-pasienter til å bevege seg?

• Alexander Refsum Jensenius (2026). AI and Creativity and a little information about the new AI centre MishMash. doi: https:/www.uio.no/dscience/english/news-and-events/events/ai-in-science.html. Fulltekst i vitenarkiv Vis sammendrag

  Can AI be creative? The talk starts from Boden's definition, novel and meaningful, and shows why the first half is cheap for machines and the second is where the human work remains. It sorts AI into rules, learning, and evolution, traces seventy years of artists working with all three, and argues that the interesting questions concern co-creation rather than replacement: control, intention, and ownership. It presents MishMash, Norway's national centre for AI and creativity, with its seven challenges across performance, health, education, industry, and heritage, and closes with what creative practice teaches scientists: small models, embodied agents, reproducible workflows, and provenance.

• Turi Grønbech & Alexander Refsum Jensenius (2026). – Jeg blir sterkere uten - NRK. [Internet]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  Når var du sist alene med dine egne tanker? Uten en podkast eller musikk på øret? I følge Mediebarometeret øker mediebruken blant nordmenn. Interessen for podkast, musikk og lydbok stiger. Hodetelefonene er med oss overalt. På bussen, på jobb, i lunsjen og på løpetur i skogen. Det er godt selskap og god underholdning. Samtidig gjør alt innholdet at det sjeldent er helt stille rundt oss. Og forskere mener vi har godt av stillhet.

• Sara Lovise Roaldseth, Roar Strøm & Alexander Refsum Jensenius (2026). Emil (24) har laget spill han mener kan hjelpe folk å ro i takt. [Internet]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  At supportere bommet under ro-seansene fikk to 24-åringer til å våkne. – VM-feberen har boosta kreativiteten, sier Emil Vold (24).

• Alexander Refsum Jensenius (2026). Musikksektoren – Nåtid og fremtid. doi: https:/www.nordland-akademi.no/sommer2026.html#melbukonf26. Fulltekst i vitenarkiv Vis sammendrag

  Alexander Refsum Jensenius presenterer om sin forskning som omfatter blant annet kroppslige dimensjoner ved musikkopplevelse og -utøvelse, som kombinerer perspektiver fra musikkvitenskap, psykologi og teknologi. Hans arbeid har som mål å frembringe både vitenskapelige og kunstneriske resultater.

• Alexander Refsum Jensenius (2026). Musikklandet 2050. doi: https:/www.musikk.no/prosjekt/fredrikstad2026. Fulltekst i vitenarkiv Vis sammendrag

  En presentasjon med tanker om musikklivet i 2050 og hvordan teknologi (og særlig KI) kommer til å påvirke musikkbransjen.

• Alexander Refsum Jensenius (2026). My way to a research career. Fulltekst i vitenarkiv Vis sammendrag

  A presentation talking about how I ended up as a centre director, where I started from, and which choices I made along the way.

• Barbara Wasson, Adio-Adet Dinika, Alexander Refsum Jensenius & Birgitte Aga (2026). AI and Caring Futures: Creativity, Learning and Empowerment. doi: https:/uni.oslomet.no/sdgconference/program-day-2/. Fulltekst i vitenarkiv Vis sammendrag

  The closing session of the SDG conference will also represent an opening – towards provoking thoughts and emotions, plural perspectives and anticipation of futures simultaneously too far and too near to grasp. The evening will bring exhilarating possibilities of ontological shifts, deep listening and embodied perception through collaborative human-technology movement and critical conversations. But let’s not forget, there will also be the comfort of food, laughter and relaxation after two full, invigorating conference days where we have aimed, and hopefully succeeded, to hold complexity without slipping into solutionism or despair.

• Alexander Refsum Jensenius, Nils Petter Mørland, Ingjerd Egeberg, Christopher Pahle, Hans Ole Rian & Åsmund Færavaag (2026). Har statlig finansiert kunst et større etisk ansvar i møte med KI? doi: https:/www.heddadagene.no/event/theyellowbrickroadBikuben. Fulltekst i vitenarkiv Vis sammendrag

  I likhet med en rekke bransjer, står kunst- og kulturfeltet overfor store endringer preget av digitalisering og fremveksten av kunstig intelligens (KI). Representanter fra statlige teaterinstitusjoner, selvstendige scenekunstnere og forskere møtes til samtale om hverdagen for scenekunstnere og framtida for vår bransje i lys av den teknologiske utviklingen.

• Alexander Refsum Jensenius, Geir Kjetil Ferkingstad Sandve, Elin Lerum Boasson, Marius Timmann Mjaaland, Brit Lisa Skjelkvåle & Kåre Moen [Vis alle 7 forfattere av denne artikkelen] (2026). What can the Centre for Global Sustainability do for UiO – and the other way around? Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2026). MishMash@NORA.AI. doi: https:/www.nora.ai/nora-events/annual-conference-2026/program2026.html. Fulltekst i vitenarkiv Vis sammendrag

  A presentation held at the annual NORA AI conference about MishMash. The centre will conduct research on how AI promotes and challenges creativity, including issues related to copyright and regulation. The research results are relevant for many actors, and especially for creative industries such as film, music, design and literature, and for public and private actors in health, education and cultural heritage.

• Alexander Refsum Jensenius (2026). The Official Opening of MishMash Centre for AI and Creativity. doi: https:/www.youtube.com/watch?v=rq8UnZlzYk4. Fulltekst i vitenarkiv Vis sammendrag

  On April 8, 2026, the University of Oslo (UiO) hosted a launch event in the University Aula for MishMash, one of Norway's six new national research centres for artificial intelligence. The primary objective of MishMash is to create, explore, and reflect on AI for, through, and in creative practices.

• Anders Malthe-Sørenssen, Fabian Andsem Harang, Victoria Christine Årang Johnson, Jacob Nyrup, Knut-Andreas Lie & Geir Kjetil Ferkingstad Sandve [Vis alle 7 forfattere av denne artikkelen] (2026). Hvordan endrer KI-agenter forskningsprosessen? Fulltekst i vitenarkiv Vis sammendrag

  Dette møtet vil ta for seg de forskningsetiske spørsmålene som reiser seg i møte med bruken av KI-agenter i forskning

• Alexander Refsum Jensenius (2026). MishMash, nytt nasjonalt KI-senter. doi: https:/www.uib.no/it/181268/it-forum-2026#program-torsdag-9-april. Fulltekst i vitenarkiv Vis sammendrag

  Denne presentasjonen forteller om det nye norske KI-senteret Mishmash. Rundt 200 forskere vil i årene fremover jobbe med både utfordringer og muligheter ved bruk av KI i kunst og kultur, særlig knyttet til opphavsrett, personvern og fremtiden for kreative fag. Målet er å utforske og utvikle ansvarlig bruk av KI i blant annet musikk, utdanning, helse, kulturvern og kreativ næring.

• Alexander Refsum Jensenius (2026). Muligheter innen KI og kreativitet. Fulltekst i vitenarkiv Vis sammendrag

  En presentasjon om det nye nasjonale MishMash-senteret med fokus på utfordringer og muligheter med KI innen kunstfagene.

• Alexander Refsum Jensenius (2026). Mennesker og maskiner. Forskerforum.no. Fulltekst i vitenarkiv Vis sammendrag

  Det er en del KI-optimister rundt omkring. Men jeg møter flere skeptikere. Da forsøker jeg å minne om at det også finnes mange muligheter.

• Alexander Refsum Jensenius (2026). Creativity and biology research. Fulltekst i vitenarkiv Vis sammendrag

  This project explains how I got into biology-related research and the potential of using musical, artistic, and creative methods to get obtain both artistic and scientific results.

• Annabel Balean Guaita, Finn Upham & Alexander Refsum Jensenius (2026). The Listening Body – for mennesker med og uten Parkinson. doi: https:/www.uio.no/ritmo/english/projects/musiclab/2026/listening-body-oslo/. Fulltekst i vitenarkiv Vis sammendrag

  We invite people with and without Parkinson’s disease to attend a unique participatory concert experiment to investigate how meditation and attentive listeni...

• Alexander Refsum Jensenius, Jesper Mardahl, Simon Kimmel, Martin Eyerer, Roland Sillmann & Philipp Grefer (2026). Building intersectional Cultural Ecosystems & Institutions for the Future. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2026). Tverrfaglighet i forskning (og utdanning). Fulltekst i vitenarkiv
• Silje Midtlien Sigurdsen, Camila Urrego, Gunnar Gabriel Gjermundsen & Alexander Refsum Jensenius (2026). Mellom menneske og maskin. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2026). Sang og KI. Fulltekst i vitenarkiv
• Torkild Jemterud & Alexander Refsum Jensenius (2026). Finnes mennesker fortsatt om en million år? - Abels tårn - NRK Radio. [Radio]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  Stafetten går! Sju eksperter svarer på sju spørsmål på rappen (3:3) Send oss gjerne dine spørsmål også ved å trykke på snakkebobla øverst

• Kjersti Anderdal Bakken, Alexander Refsum Jensenius, Tine Thing Helseth & Ragnhild Schiager Folkestad (2026). Live frå Aulaen: Musikk-spesial. [Radio]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Sunniva Monclair Bøe, Elise Koppang Frøjd, Alexander Refsum Jensenius, Diego Marin-Bucio, Benedikte Wallace & Olivier Lartillot (2026). Debatten raser om KI i kulturfeltet: Trenger vi egentlig musikere, forfattere og filmprodusenter nå? [Journal]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Norske forskere vil finne ut hvordan kreative utøvere kan være med på å utvikle kunstig intelligens – og motsatt.

• Alexander Refsum Jensenius & Laura Bishop (2026). Bodies in Motion in the Concert Hall and Beyond. doi: https:/moco26.movementcomputing.org/. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Anlov Peter Mathiesen & Alexander Refsum Jensenius (2026). Musikkmaskinene | Aftenposten Innsikt. [Journal]. Aftenposten Innsikt. Fulltekst i vitenarkiv Vis sammendrag

  Når KI lager og spiller musikken, hva gjenstår for mennesket?

• Alexander Refsum Jensenius (2026). Får du frysninger. [Radio]. NRK P1. doi: https:/radio.nrk.no/serie/distriktsprogram-oestlandssendingen/DKOA02006926. Fulltekst i vitenarkiv Vis sammendrag

  Musikk har evnen til å skape frysninger.

• Rolf Frøyland & Alexander Refsum Jensenius (2026). Er 528 Hz og 432 Hz magiske frekvenser? [Journal]. Stavanger Aftenblad. Fulltekst i vitenarkiv Vis sammendrag

  Hører du på musikk i 528 Hz, 432 Hz eller 8D kan det gjøre underverker for den mentale helsen din, ifølge en rekke videoer på sosiale medier. Er det sant – eller bare tull?

• Henrik Moisanen Jensen & Alexander Refsum Jensenius (2026). Matoma advarer: –⁠ Det er sjelløst. [Journal]. VG. Fulltekst i vitenarkiv Vis sammendrag

  Matoma advarer mot økt KI-bruk i musikkbransjen: – Misbruker det. Den anerkjente musikkprodusenten frykter for unge musikere.

• Alexander Refsum Jensenius (2026). Creativity Between Art and Science. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2026). Kunstig kreativitet? Fulltekst i vitenarkiv Vis sammendrag

  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.

• Cathrine Th. Brundell & Alexander Refsum Jensenius (2026). Eneste KI-senter som kobler teknologi og kreativitet offisielt åpnet. [Journal]. Uniforum. Fulltekst i vitenarkiv Vis sammendrag

  Mye optimisme og litt bekymring preget åpningen av MishMash – senter for kunstig intelligens og kreativitet.

• Alexander Refsum Jensenius (2026). Velkommen til festival! Forskerforum.no. Fulltekst i vitenarkiv Vis sammendrag

  Det hjelper ikke med «sånn gjør vi det her»-argumentasjon hvis vi skal få til reelt samarbeid på tvers av institusjoner.

• Alexander Refsum Jensenius (2026). "Soft" and "Hard" research? Experiences from running a radically interdisciplinary research centre. doi: https:/www.uc.pt/ceis20/conferencias/alexander-jensenius-eixos-do-conhecimento-interdisciplinar/. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2026). Hva er "flytsonen"? [Radio]. NRK P2. Fulltekst i vitenarkiv Vis sammendrag

  "Kan kunst skape seg selv?", spør Abels Tårnpanel fra Kunsthøgskolen i Oslo (KHIO). Send inn dine spørsmål til våre eksperter!

• Alexander Refsum Jensenius & Tuva Marie Sørum (2026). Nesten alle lever i sin egen stille boble. [Journal]. NRK.no. Fulltekst i vitenarkiv Vis sammendrag

  Vi søker stillhet som aldri før, og hele 95 prosent av hodetelefonene som selges er støyreduserende.

• Alexander Refsum Jensenius (2026). Netsten alle hodetelefoner er støyreduserenede. [Radio]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  Innslag på NRK nyhetsmorgen

• Erling Zahl Urke, Atilla Juliana Vrasdonk & Alexander Refsum Jensenius (2026). Flamenco og videoer i RITMO sin årsrapport - LINK – Senter for læring og utdanning. [Internet]. UiO.no. Fulltekst i vitenarkiv Vis sammendrag

  Hvert år produserer LINK videoer som presenterer forskning gjort ved RITMO - Senter for tverrfaglig forskning på rytme, tid og bevegelse. Fem nye videoer er å finne i den ferske årsrapporten deres.

• Alexander Refsum Jensenius & Nikoline Riis Lindahl (2026). Ekspert om støydemping-trenden: – Vi lever i parallelle verdener. [Journal]. Aftenposten. Fulltekst i vitenarkiv Vis sammendrag

  Støydemping er blitt normalen. Spørsmålet er hva som skjer når fellesskapets lyd forsvinner.

• Alexander Refsum Jensenius (2026). Tverrfaglighet gjør litt vondt. Forskerforum. ISSN 0800-1715. Fulltekst i vitenarkiv Vis sammendrag

  Hvordan får man til tverrfaglig forskning i praksis? Mitt tips: Heng ved kaffemaskinen.

• Alexander Refsum Jensenius (2026). KI & KU. Fulltekst i vitenarkiv Vis sammendrag

  En presentasjon om kunstig intelligens og kunstnerisk utviklingsarbeid og hvordan de to skal forenes i MishMash Senter for KI og kreativitet

• Shabari Rao, Kari Anne Vadstensvik Bjerkestrand, Victoria Christine Årang Johnson & Alexander Refsum Jensenius (2025). Stillstanding at Deichman Bjørvika. doi: https:/www.uio.no/ritmo/english/news-and-events/events/artistic-performances/2025/deichman/index.html. Fulltekst i vitenarkiv Vis sammendrag

  We live in a noisy, and troubled world. Please join us for an artistic co-performance that explores human stillness and silence in the busy Deichman Bjørvika public library.

• Torkild Jemterud & Alexander Refsum Jensenius (2025). Forskningsfronten - Musikken som beveger oss. [Radio]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  Kan mensblod kurere hjernesykdommer? Og personlighetstrekket som avgjør om du liker å danse. Hanne, Torkild og Kristina deler små og store forskningssaker.

• Leif Henrik Hoøen & Alexander Refsum Jensenius (2025). Eierskap til KI. [Journal]. ArtScene Trondheim. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2025). Permeating Art & Science Collaboration. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Martin Blekkerud, Alexander Refsum Jensenius & Kristopher Schau (2025). Kristopher Schau møter forskere: Dette gjør rytme med kroppen. Fulltekst i vitenarkiv Vis sammendrag

  Hva er det som egentlig skjer med oss når vi hører på musikk? Hvordan oppfatter kroppen rytme og stillhet? Musikk kan hjelpe oss å forstå hvordan vi oppfatter tid og rom, ifølge norsk forsker.

• Lisbet Jære & Alexander Refsum Jensenius (2025). Verdens største musikkeksperiment viste at publikum holdt pusten samtidig. [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Publikum holder pusten samtidig, og når musikken blir emosjonell sitter alle helt stille sammen. Det avslører de første funnene fra verdens største musikkeksperiment.

• Alexander Refsum Jensenius & Simon Høffding (2025). Mærk musiken. [Radio]. DR P2. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Simon Høffding (2025). Preliminary results from symphonic concerts. doi: https:/www.aarhussymfoni.dk/koncert/maerk-musikken/. Fulltekst i vitenarkiv
• Anna-Maria Christodoulou, Hugh Alexander von Arnim & Alexander Refsum Jensenius (2025). Supporting Narrative Comprehension in Programmatic Music through Music and Light. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Ingrid Romarheim Haugen (2025). MishMash og Nasjonalbiblioteket. Fulltekst i vitenarkiv
• Per Snaprud, Alexander Refsum Jensenius, Tor Endestad & Randi Wøien (2025). Concientia. doi: https:/happeningnext.com/event/samtale-om-bevissthet-og-det-%C3%A5-skape-eid3a0d68lba3. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2025). Kan musikk skape fred? [Internet]. Ungdomsavisa. doi: https:/ungdomsavisa.com/index.php?artID=763&navB=1. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius, Kristin Bergtora Sandvik, Birgitte Grimstad, Andreas Hoem Røysum & Lars Klevstrand (2025). Kan musikk skape fred? doi: https:/www.oslopeacedays.no/program/2025/fred-og-musikk. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2025). Nytt KI-senter ved UiO: MishMash. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Openness in the age of AI. doi: 10.5281/zenodo.17652120. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Musikk, opphavsrett og KI. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Nytt KI-senter ved HF: MishMash. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Are we still needed? doi: https:/filmskolen.no/artikler/2025/ki-i-filmbransjen-2-0. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius, Kari Anne Vadstensvik Bjerkestrand, Victoria Christine Årang Johnson & Shabari Rao (2025). Stillness – Silence. doi: https:/www.hf.uio.no/imv/english/research/news-and-events/events/Research-Forum/2025/research-forum-stillness-and-silence.html. Fulltekst i vitenarkiv Vis sammendrag

  What can be learned by standing still in silence? Dancers typically move, and musicians move to produce sound. In this research forum, we explore the opposite: musicians and dancers who stand still in silence.

• Alexander Refsum Jensenius (2025). Er gamle fioliner bedre enn nye? [Radio]. NRK P2. doi: https:/www.arj.no/no/2025/11/26/gamle-fioliner/. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Musikk og kunstig intelligens. [TV]. TV2. doi: https:/play.tv2.no/nyheter/god-morgen-norge-y05mec7j?play=true. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). What is the role of AI in creative activities? Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). MishMash and potential for games. Fulltekst i vitenarkiv
• Jinyue Guo, Jim Tørresen & Alexander Refsum Jensenius (2025). Cross-modal Analysis of Spatial-Temporal Auditory Stimuli and Human Micromotion when Standing Still in Indoor Environments (poster). doi: 10.5281/zenodo.17502603. Fulltekst i vitenarkiv
• Siddharth Sareen, Bjørn Kristian Danbolt, Borgar Aamaas, Cecilie Sachs Olsen, Solfrid Bratland-Sanda & Heidi Holmen [Vis alle 14 forfattere av denne artikkelen] (2025). AYFs Jubileumsbok - De første ti årene. doi: https:/akademietforyngreforskere.no/wp-content/uploads/2025/11/Jubileumsbok-digital-3.pdf. Fulltekst i vitenarkiv
• Michael Francis Duch, Alexander Eriksson Furunes, Alexander Refsum Jensenius & Cecilie Sachs Olsen (2025). Kunstnerisk forskning for en kompleks verden. doi: https:/akademietforyngreforskere.no/wp-content/uploads/2025/11/Jubileumsbok-digital-3.pdf. Fulltekst i vitenarkiv Vis sammendrag

  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?

• Hugh Alexander von Arnim, Anna-Maria Christodoulou, Kayla Burnim, Finn Upham, Tejaswinee Kelkar & Alexander Refsum Jensenius (2025). LightHearted—A Framework for Mapping ECG Signals to Light Parameters in Performing Arts. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Who Owns Our Knowledge? Open Research in MishMash Centre for AI & Creativity. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). MishMash og Kunstnerisk utviklingsarbeid. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). MishMash Sentre for KI og kreativitet. Fulltekst i vitenarkiv
• Ida Jahr, Alexander Refsum Jensenius, Mathieu Lacroix & Fredrik Graver (2025). Kunst i intelligens. Fulltekst i vitenarkiv Vis sammendrag

  En paneldebatt om kunst og kunstig intelligens.

• Balint Laczko, Marie Elisabeth Rognes & Alexander Refsum Jensenius (2025). Poster for "Image Sonification as Unsupervised Domain Transfer". doi: 10.5281/zenodo.17513165. Fulltekst i vitenarkiv Vis sammendrag

  The process of image sonification maps visual features into perceived auditory features. Most established sonification methods rely on identifying salient visual features in the input data and then mapping their distribution to a proportional distribution of auditory features. However, this approach requires both domain expertise and manual feature engineering. Here, we propose a new method of image sonification, leveraging recent advances in representation learning and domain transfer. Our approach introduces a pair of variational auto-encoder models that learn disentangled latent representations of the images and sounds, respectively, and a separate network that maps between these representations. The resulting sonification system encodes images into the latent space and then decodes them as sounds. Both representations and their mapping are learned in an entirely unsupervised manner. When evaluating the system in an interactive real-time setting, we observed that the model successfully learned disentangled representations of image and sound factors in our synthetic datasets.

• Alexander Refsum Jensenius (2025). MishMash - exploring AI and creativity between art and science. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2025). MishMash Centre for AI & Creativity. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2025). Musikk og KI - Utfordringer og muligheter. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2025). KI og det nye MishMash-senteret. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Muligheter for deltagelse i MishMash Senter for KI og kreativitet. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Technologies supporting research on music-related body motion. doi: https:/www.liser.lu/events/EXPAR2025-09-18. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2025). Video Visualization - Learn to use MG Toolbox. doi: https:/www.liser.lu/events/EXPAR2025-09-19. Fulltekst i vitenarkiv Vis sammendrag

  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.

• Alexander Refsum Jensenius (2025). RITMO, MishMash and the fourMs Lab. Fulltekst i vitenarkiv Vis sammendrag

  A presentation for the Ukrainian Research Council.

• Alexander Refsum Jensenius (2025). Kreativitet og KI. doi: https:/www.arj.no/no/2025/08/28/ki-filmbransjen/. Fulltekst i vitenarkiv Vis sammendrag

  Jeg vil presentere MishMash Senter for KI og kreativitet samt gi en mini-introduksjon til KI generelt.

• Alexander Refsum Jensenius, Ida Jahr & Daniel Nordgård (2025). MishMash Senter for KI og kreativitet. doi: https:/www.forskningsradet.no/arrangementer/2025/presentasjon-ki-sentra/. Fulltekst i vitenarkiv Vis sammendrag

  A presentation of the planned activities of MishMash Centre for AI & Creativity

• Alexander Refsum Jensenius (2025). Eksternt blikk på NMHs forskningsaktivitet. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Noen resultater fra tre år med forskningssamarbeid med tre orkestre. Fulltekst i vitenarkiv Vis sammendrag

  Denne presentasjonen oppsummerer resultater fra forskningsstudier på og med tre skandinaviske symfoniorkestre. I alle tilfeller har både kvalitative og kvantitative data blitt samlet inn på prøver og konserter i konsertsaler.

• Anna-Maria Christodoulou, Kyrre Glette, Olivier Lartillot & Alexander Refsum Jensenius (2025). MusiQAl: Music Question Answering through Audio-Video fusion. doi: https:/ismir2025.ismir.net/program-detailed-schedule. Fulltekst i vitenarkiv
• Sara D'Amario & Alexander Refsum Jensenius (2025). Workshop on Women Musicians Wellbeing. doi: https:/www.uio.no/ritmo/english/news-and-events/events/workshops/2025/women-wellbeing/. Fulltekst i vitenarkiv
• Sara D'Amario, Andreas Løve, Maja Dyhre Foldal & Alexander Refsum Jensenius (2025). Functional Near Infrared Spectroscopy (fNIRS) Responses of Professional Violinists during Orchestra Performances. Fulltekst i vitenarkiv
• Hugh Alexander von Arnim, Cagri Erdem, Ulysse Teller Masao Côté-Allard & Alexander Refsum Jensenius (2025). A Sensor is not a Sensor: Diffracting the Preservation of Sonic Microinteraction with the SiFiBand. Fulltekst i vitenarkiv Vis sammendrag

  This paper documents our exploratory work to preserve the interactive music system Stillness Under Tension—developed to explore inverse sonic microinteraction—by porting it from the original and discontinued Myo sensor armband to SiFiBand, a new prototype armband with motion (IMU) and muscle (EMG) sensors. We approach this by merging the Multilevel Dynamic Preservation model with a “diffraction-in-action” method grounded in a theoretical entanglement perspective. Rather than focusing on the Myo version’s artefactual remains, we explore the difference in data representations offered by the two devices as our point of departure. The paper describes the sensor devices, evaluating their data representations given their technical specifications, and describing how these differences propagate throughout our attempt to preserve the system, enacting necessary changes. We discuss the implications of merging these methods in view of the long-term preservation of interactive music systems. Our version 2.0 of Stillness Under Tension finds itself experientially in a position between familiarity and newness.

• Alexander Refsum Jensenius (2025). MishMash, musikk og kunstig intelligens. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). What happens in the body when you stand still? Fulltekst i vitenarkiv Vis sammendrag

  Professor Alexander Refsum Jensenius will talk about his decade-long exploration of human micromotion. Motion data from the 365 standstill sessions he carried out during 2023 reveals lots of biomechanical noise, but also some interesting signals.

• Alexander Refsum Jensenius (2025). CoARA principles in practice. Insights from a crossdisciplinary Centre of Excellence. Fulltekst i vitenarkiv Vis sammendrag

  The presentation discusses the practical application of the NOR-CAM framework and CoARA principles at RITMO, a cross-disciplinary research centre. It highlights the challenges and strategies involved in promoting comprehensive and transparent research assessment, especially in interdisciplinary settings where values and evaluation criteria differ across fields. The author emphasizes the importance of redefining openness in research, professionalizing hiring committees, implementing structured career development programs, and fostering a culture of sharing and caring. These efforts aim to create a more equitable, supportive, and effective academic environment that values diverse contributions and supports researchers' well-being.

• Cecilie Sachs Olsen, Alexander Refsum Jensenius & Michael Francis Duch (2025). Kunstnerisk forskning for en kompleks verden. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Forskningsfronten - Mensblod mot Alzheimers. [Radio]. NRK P2 Abels tårn. Fulltekst i vitenarkiv Vis sammendrag

  Kan personlighetstrekket avgjøre om du liker å danse?

• Henrik Sveen, Laura Bishop & Alexander Refsum Jensenius (2025). Cyclic Patterns and Spatial Orientations in Artificial Impulsive Autonomous Sensory Meridian Response (ASMR) Sounds. Fulltekst i vitenarkiv Vis sammendrag

  Autonomous Sensory Meridian Response (ASMR) is a tingling sensation in the neck and spine often triggered by specific sounds. This paper reports a study on the impact of different cyclic patterns and spatial orientations—defined here as the perceived directionality and motion of sound sources in a three-dimensional auditory space—on inducing ASMR experiences. The results demonstrate that both the type of cyclic pattern and the spatial orientation significantly influence the intensity and nature of ASMR experiences. Furthermore, the research explores synthesizing ASMR-inducing sounds while preserving key audio characteristics from acoustically recorded ASMR content. Through survey data analysis and regression modeling, distinct patterns emerge regarding the relationship between personality traits and ASMR experience. The findings contribute to a deeper understanding of ASMR as a sensory phenomenon and provide insights into the potential applications of artificially generated ASMR stimuli. Additionally, the research sheds light on the role of spatiality in ASMR experiences and the synthesis of ASMR-inducing sounds for future studies and practical applications

• Alexander Refsum Jensenius (2025). What happens in the body when you stand still? Fulltekst i vitenarkiv Vis sammendrag

  Professor Alexander Refsum Jensenius will talk about his decade-long exploration of human micromotion. Motion data from the 365 standstill sessions he carried out during 2023 reveals lots of biomechanical noise, but also some interesting signals.

• Alexander Refsum Jensenius (2025). KI og musikkens fremtid. Fulltekst i vitenarkiv Vis sammendrag

  Alexander Refsum Jensenius leder RITMO, Senter for tverrfaglig forskning på rytme, tid og bevegelse, med 60 ansatte. Han leter for tiden systematisk etter mulighetene og perspektivene KI kommer med. KI er en disruptiv teknologi som griper inn i etablerte næringsmodeller. Hvor er vi på vei? Mange av perspektivene kan virke overveldende. Det er imidlertid viktig å huske på at selv om maskiner nå er med på å utvikle seg selv, er det primært mennesker som vil utvikle også morgendagens teknologier. Han mener det er sentralt at vi i Norge er med på denne utviklingen. Her mener kunst- og kulturfeltet har en unik mulighet til å bidra gjennom eksperimentell utforskning og kritisk refleksjon. Han mener vi vil se flere systemer som fokuserer på kontinuerlig samhandling mellom mennesker og maskiner, slik som når musikere improviserer. Men at man ikke kommer videre med KI uten at de får en kropp som kan sanse og handle. Og at KI-systemer vil kunne bli mer empatiske, noe som vil forbedre menneske-maskin-kommunikasjon, men som også reiser mange etiske problemstillinger.

• Alexander Refsum Jensenius (2025). Improvisasjon for muskelarmbånd. Fulltekst i vitenarkiv
• Torkild Jemterud, Alexander Refsum Jensenius, Vegard Undheim & Jo Røislien (2025). Wonderful Nachspiel med Torkild Jemterud. Fulltekst i vitenarkiv
• Erik Lerdahl, Eivind Buene, Anna Berg & Alexander Refsum Jensenius (2025). Musikk, stillhet og kreativitet. Fulltekst i vitenarkiv Vis sammendrag

  Alexander Refsum Jensenius har stått stille 10 min hver dag i ett år. Han kalles Professor Stillstand. Han leder et senter med 60 ansatte som forsker på rytme, tid og bevegelse, og vil gjerne forstå mer og dypere om hvordan lydene og inntrykkene av det vi omgir oss med påvirker oss. Hans første erkjennelse er at han tror verden ville kunne bli et bedre sted om alle stod stille 10 minutter hver dag. Hva gjør musikk og stillhet med oss selv, vårt velvære og vår kreativitet?

• Alexander Refsum Jensenius (2025). Regjeringa satser over én milliard på KI. [Internet]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  Seks nye forskningssentre skal blant annet forske på ansvarlig, pålitelig og bærekraftig kunstig intelligens.

• Alexander Refsum Jensenius, Åshild Watne, Arnt Maasø & Vetle Agledahl (2025). Musikksnakk: Allsang. Fulltekst i vitenarkiv Vis sammendrag

  Vi har aldri konsumert mer musikk enn nå, viser forskning. Likevel er det færre av oss som tar en aktiv del i musikkskapingen, enn før. Hva mister vi når vi ikke tar del i, eller vet hvordan man lager, musikk? Vi skal også teste hvordan det er å synge sammen. Hva skjer med oss da?

• Alexander Refsum Jensenius (2025). KI-milliard. [Radio]. Dagsnytt atten. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Hvor er vi på vei? Fremtidens høyere utdanning. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Forskningens rolle i å forme fremtiden. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Forskningsfronten. Hva sier den nyeste forskningen oss? [Radio]. NRK P2 Studio 2. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). NOR-CAM og RITMO. Erfaringer fra et interdisiplinært senter. Fulltekst i vitenarkiv Vis sammendrag

  ## Sammendrag Innlegget oppsummerer erfaringer med å implementere CoARA- og NOR-CAM-prinsippene ved RITMO. Forfatteren deler refleksjoner rundt åpne forskningspraksiser, utfordringer og muligheter ved tverrfaglig samarbeid, samt konkrete tiltak for rekruttering, karriereutvikling og et støttende akademisk miljø. Fokus ligger på å profesjonalisere ansettelsesprosesser, utvikle karriereprogrammer og bygge en kultur for deling og omsorg i forskningsmiljøet.

• Alexander Refsum Jensenius (2025). Tale under Konkurransen Unge Forskere 2025. Fulltekst i vitenarkiv Vis sammendrag

  I denne forelesningen forteller jeg om hvordan en barndomsfascinasjon for papirsylindres styrke førte til en fysikkoppgave på videregående, som igjen førte til finaleplass i konkurransen og deltakelse på Nobelarrangementer i Stockholm. Opplevelsen ga innsikt i forskningsverdenen og motivasjon til videre studier og forskning.

• Heidi Ormstad & Alexander Refsum Jensenius (2025). Helseforskning: Åpenhetens balansegang. Fulltekst i vitenarkiv Vis sammendrag

  Åpen forskning skal være så åpen som mulig og så lukket som nødvendig. Skribentene skiller mellom hva forskere skal og bør gjøre.

• Kristopher Schau & Alexander Refsum Jensenius (2025). Nysgjerrige på: rytmens hemmeligheter. [Internet]. Nysgjerrige Norge. Fulltekst i vitenarkiv Vis sammendrag

  I denne episoden besøker Kristopher forskningssenteret RITMO ved Universitetet i Oslo. Der forsker de på alt fra trommeroboter og mikromusikalske problemstillinger til hvordan vi påvirkes av ventilasjonslyd. Han møter senterleder Alexander Refsum Jensenius som forteller om forskning i skjæringspunktet mellom musikk, bevegelse, psykologi og robotikk.

• Alexander Refsum Jensenius (2025). Her er Norges rykende ferske KI forskningssentre! Fulltekst i vitenarkiv Vis sammendrag

  Hele 1,3 milliarder kroner skal tildeles seks nasjonale forskningssentre på kunstig intelligens. Disse er nå offentliggjort - kom og vær en av de første til å bli kjent med de nye forskningssentrene og lær om hva de skal forske på!

• Alexander Refsum Jensenius (2025). Video Visualization - Learn to use MG Toolbox. Fulltekst i vitenarkiv Vis sammendrag

  This workshop is designed for students and researchers who work 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, which allow for viewing video recordings from different temporal and spatial perspectives in various ways. It also includes some fundamental computer vision analysis, such as extracting the 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 visualizations mentioned above. The toolbox is relevant for everyone working with video recordings of humans, including linguists, psychologists, medical professionals, human-computer interaction specialists, and educators in the educational sciences.

• Alexander Refsum Jensenius (2025). Music, RITMO and AI. Fulltekst i vitenarkiv Vis sammendrag

  An introduction to RITMO and ongoing research on the topic of music and AI for a workshop between researchers from the University of Oslo, Queen Mary University of London, and KTH Royal Institute of Technology.

• Alexander Refsum Jensenius & Balint Laczko (2024). Workshop notebook: Video Visualization. doi: 10.5281/zenodo.10480526. Fulltekst i vitenarkiv Vis sammendrag

  This is the notebook used in the Video Visualization workshop at the University of Oslo Library on 10 January 2024 during the Digital Scholarship Days. For a general introduction to the toolbox, check out the Jupyter Notebook tutorial and the Wiki . 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 recordings. 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 for generating all of the above-mentioned visualizations and analyses. This toolbox was initially developed to analyze music-related body motion but is equally helpful for other disciplines working with video recordings of humans, such as linguistics, psychology, medicine, and educational sciences.

• Torkild Jemterud, Solveig Sørbø, Alexander Refsum Jensenius, Kolbjørn Holthe, Guro Engvig Løseth & Annette Hobson [Vis alle 7 forfattere av denne artikkelen] (2024). MusicLab: Abels KORK. [Radio]. P2. doi: https:/radio.nrk.no/podkast/abels_taarn/l_c6892815-8b1d-4133-8928-158b1df1338b. Fulltekst i vitenarkiv Vis sammendrag

  How does music affect us? What happens in our brains when we hear a melody we like – or dislike? Why do we react differently to different types of music? And how does an entire orchestra manage to play perfectly together? And must they have a conductor?

• Alexander Refsum Jensenius (2024). From Sound to Science: Open Science Practices at the RITMO Centre. [Internet]. Pathos. Fulltekst i vitenarkiv Vis sammendrag

  A PathOS interview about how Open Science (Open Access to publications, Open/FAIR data and software, collaborations with citizens) has made a positive or negative impact.

• Alexander Refsum Jensenius & Balint Laczko (2024). Video Visualization. Fulltekst i vitenarkiv Vis sammendrag

  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 recordings. 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 for generating all of the above-mentioned visualizations and analyses. This toolbox was initially developed to analyze music-related body motion but is equally helpful for other disciplines working with video recordings of humans, such as linguistics, psychology, medicine, and educational sciences.

• Alexander Refsum Jensenius, Kaja Kathrine Wendt, Veronica Ski-Berg & Aslaug Louise Slette (2024). S1E3 Forskerkarrierer - i tall og matriser. [Internet]. Podcast. Fulltekst i vitenarkiv Vis sammendrag

  I tredje episode av NIFUs podkastserie Kunnskapsfloker snakker vi om forskerkarrierer. Hva er egentlig en «forskerkarriere», og hvor i samfunnet finner vi forskere? Å utvikle gode forskerkarrierer står høyt på dagsorden både i Norge og i Europa. Det utvikles for tiden nye rammeverk for karriereutvikling samt statistiske indikatorer som dokumenterer hvordan forskerkarrierer utvikler seg over tid. Men hvordan kan forskningssystemet tilrettelegge for mangfoldige forskerkarrierer? Gjester i episoden er Kaja Kathrine Wendt fra SSB/NIFU og Alexander Refsum Jensenius fra UiO. Programledere er Veronica Ski-Berg og Aslaug Louise Slette.

• Alexander Refsum Jensenius (2024). Labprat #3: NM i stillstand. Fulltekst i vitenarkiv Vis sammendrag

  Klarer du å stå stille til favorittlåta di? Prøv selv og vinn 1000kr! Folk sier ofte at det er umulig å ikke bevege seg til musikk, men stemmer det? Onsdag 3. april kan du teste deg selv når professor Alexander Refsum Jensenius – også kjent som Professor stillstand – inviterer til «NM i stillstand» her på Popsenteret. Vinneren kåres samme kveld på LAB.prat #3 med nettopp Alexander! Her får du også vite mer om hva som faktisk skjer i kroppen når vi hører på musikk. Som vanlig ledes kvelden av fasilitator og «MC» Dr. Kjell Andreas Oddekalv, også kjent som «Dr. Kjell» (eller hele Norges Kjelledegge som han selv liker å si) fra Hiphop orkesteret Sinsenfist. Sammen med Alexander inviterer han til en uformell samtale og Q&A om kroppsrytmer og hvordan de påvirkes av omgivelsene våre. I tidsrommet mellom stillstandkonkurransen og LAB.prat er Popsenteret åpent og du er velkommen til å besøke utstillingen vår og alt den har å by på!

• Alexander Refsum Jensenius (2024). 20 years of concert research at the University of Oslo. Fulltekst i vitenarkiv Vis sammendrag

  In my talk I will give an overview of the concert research conducted in the fourMs Lab at the University of Oslo from the early 2000s to today. Over the years, we have explored and refined numerous data captures methods, from qualitative observation studies, interviews, and diaries to motion capture and physiological sensing. At the core has always been the attempt to shed light on the complexity of music performance. This includes understanding more about the subtleties of performer's sound-producing actions, sound-facilitating motion, and communicative and expressive gestures. It also includes the intricacies of inter-personal synchronization. Over the years, we have been able to expand from studying duos, trios, and quartets to full orchestras. Today, we have lots of data, some answers, and even more questions than when we started. An excellent starting point for future research.

• Alexander Refsum Jensenius (2024). Video Visualization and Analysis. Fulltekst i vitenarkiv Vis sammendrag

  In this workshop, I will introduce video visualization as a method for understanding more about music-related body motion. Examples will be given of various methods implemented in the standalone application VideoAnalysis and the Musical Gestures Toolbox for Python.

• Alexander Refsum Jensenius (2024). Blikksporing av musikere og maler på scenen. Fulltekst i vitenarkiv Vis sammendrag

  Hvor ser en kunstner som maler på scenen under en konsert? Forskere fra UiO forsøker å finne ut av dette ved hjelp av avansert blikksporingsteknologi.

• Alexander Refsum Jensenius (2024). The Ambient project at RITMO. Fulltekst i vitenarkiv Vis sammendrag

  The AMBIENT project aims to study how such elements influence people's bodily behaviors and how they feel about the rhythms in an environment. This will be done by studying how different auditory and visual stimuli combine to create rhythms in various settings.

• Alexander Refsum Jensenius (2024). From air guitar to self-playing guitars. Fulltekst i vitenarkiv Vis sammendrag

  What can air guitar performance tell about people's musical experience and how does it relate to real guitar performance? Alexander Refsum Jensenius will tell about his decade-long research into music-related body motion of both performers and perceivers. He will also tell about how this has informed new performance paradigms, including the self-playing guitars that will be showcased at the festival. ​ Alexander Refsum Jensenius is a professor of music technology at the University of Oslo and Director of RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion. He studies how and why people move to music and uses this knowledge to create new music with untraditional instruments. He is widely published, including the books Sound Actions and A NIME Reader.

• Alexander Refsum Jensenius (2024). Embodied music-related design. Fulltekst i vitenarkiv Vis sammendrag

  Abrahamson et al. (2022) recently called for a merging of Embodied Design-Based Research and Learning Analytics to establish a coherent and integrated focus on Multimodal Learning Analytics of Embodied Design. In Spring 2022, members of EDRL and selected international collaborators of the lab participated in “Rhythm Rising,” a workshop week hosted at University of Oslo’s RITMO Centre for Interdisciplinary Studies in Rhythm, Time, and Motion. The workshop featured activities for graduate students to learn the scientific research methodologies of gathering physical, physiological, and neurobiological data from study participants engaged in interactive learning of STEM content. The activities combined the respective expertise of Abrahamson (learning sciences) and Jensenius (embodied music cognition and technology) to investigate sensorimotor micro-processes hypothesized to form the cognitive basis of conceptual understandings, such as hand- and eye actions leading to the emergence of mathematical insight. Whereas the Oslo workshop spurred great enthusiasm among the graduate students, its duration only allowed time for initial data collection. Therefore, we would like to regather in Spring 2024 to continue our collaborative work and to share insights about data analysis, visualization, and interpretation. Concurrently, we’ll develop ideas for future joint research projects.

• Alexander Refsum Jensenius (2024). MusicLab som et Åpen forskningsprosjekt mellom RITMO og UB. Fulltekst i vitenarkiv Vis sammendrag

  MusicLab er et samarbeid mellom RITMO og Universitetsbiblioteket. Målet er å utforske nye måter å samle inn og formidle musikkrelaterte forskningsdata på.

• Alexander Refsum Jensenius (2024). Åpen forskning muliggjør forskningsnær utdanning. Fulltekst i vitenarkiv Vis sammendrag

  Selv om vi liker å si at driver med forskningsbasert utdanning, er organiseringen av forskning og utdanning gjerne plassert i ulike siloer, skriver Alexander Refsum Jensenius.

• Alexander Refsum Jensenius & Anne Danielsen (2024). Tverrfaglighet: 40-grupper til besvær. Fulltekst i vitenarkiv Vis sammendrag

  Vi er positive til fler- og tverrfaglige studieløp og synes 40-grupper er en god idé. Strukturen er på plass, men implementeringen er mangelfull. Til tider er det vanskelig å skjønne at vi jobber ved samme institusjon.

• Alexander Refsum Jensenius (2024). Instruments, sounds, music and interaction. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius, Anne Danielsen, Daniel Kvammen & Sofie Tollefsbøl (2024). Musikksnakk: Musikk i urolige tider. Fulltekst i vitenarkiv Vis sammendrag

  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? Hva er det med akkurat musikk som forener oss? Bli med på musikksnakk med artistene Daniel Kvammen og vokalist i FIEH, Sofie Tollefsbøl, og musikkforsker Anne Danielsen. 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.

• Alexander Refsum Jensenius (2024). The assessment of researchers is changing – how will it impact your career? Fulltekst i vitenarkiv Vis sammendrag

  Changes are happening in the world of research assessment, for example by recognizing several competencies as merits and a better balance between quantitative and qualitative goals. In Norway, for example, Universities Norway presented the NOR-CAM report in 2021 which sparked a movement for reform. As an early career researcher, it's crucial to understand how these changes may impact your research career. In this talk, Jensenius will discuss the evolving landscape of research assessment and what it means for you.

• Alexander Refsum Jensenius (2024). Muskelmusikk. Fulltekst i vitenarkiv Vis sammendrag

  Hva skjer i musklene når vi forsøker å stå stille? Hvordan kan men lage musikk fra kroppen. I pausen på Forsker Grand Prix vil jeg underholde med et sceneshow hvor jeg utforsker interaktive muskelarmbånd og en musikkhanske.

• Alexander Refsum Jensenius (2024). Hvorfor trenger vi lisenser på data? Fulltekst i vitenarkiv Vis sammendrag

  QualiFAIR huben inviterer til en presentasjon og en diskusjon om rettighetene til data og behov for lisenser for data og annet forskningsmateriale.

• Alexander Refsum Jensenius & Sverre Lilleeng (2024). Professor stillstand. [Internet]. NRK. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). Stod stille hver dag i 10 minutter. [TV]. NRK Helgemorgen. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). Hvordan kan åpen forskning lede til åpen utdanning? Og omvendt? Fulltekst i vitenarkiv Vis sammendrag

  Åpenhet og akademisk frihet er hjørnesteiner i et velfungerende forskningssystem. Dette må vi bevare når vi skal bygge et helhetlig nasjonalt forskningssystem som også inkluderer skjermet og gradert forskning. Hvordan skal vi klare å bygge et forskningssystem som er så åpent som mulig og så lukket som nødvendig? Åpen forskning innebærer at forskningen gjøres tilgjengelig og deles av forskere, institusjoner, sektorer og over landegrenser. Det har vært lite fokus på de positive sidene åpen forskning kan ha innen utdanning. Hvordan kan vi motivere til mer forskningsnær utdanning, men også øke kvaliteten på forskningen?

• Alexander Refsum Jensenius (2024). Can doing nothing tell us everything? Fulltekst i vitenarkiv Vis sammendrag

  Can doing nothing tell us everything? Meet Professor Alexander Refsum Jensenius, a music researcher exploring the deep connections between sound, space, and the human body. Through his fascinating studies on stillness and motion, Alexander has discovered surprising insights into how we interact with our environment.

• Alexander Refsum Jensenius (2024). The assessment of researchers is changing – how will it impact your career? Fulltekst i vitenarkiv Vis sammendrag

  Changes are happening in the world of research assessment, for example by recognizing several competencies as merits and a better balance between quantitative and qualitative goals. In Norway, for example, Universities Norway presented the NOR-CAM report in 2021 which sparked a movement for reform. As an early career researcher, it's crucial to understand how these changes may impact your research career. In this talk, Jensenius will discuss the evolving landscape of research assessment and what it means for you.

• Alexander Refsum Jensenius, Peter Edwards, Kristina Mariell Dulsrud Klungnes, Anna Berg & Kjell Runar Jenssen (2024). Musikksnakk: Filmmusikk. Fulltekst i vitenarkiv Vis sammendrag

  Musikk skaper stemning i filmer. Men hvordan klarer filmmusikken å bevege oss så mye? Og hva er starten på fortellingen om hvorfor man bruker musikk for å skape en viss stemning? Se for deg en hai komme svømmende mot en uviten bader – i stillhet. Hva med Frodo og Sam som karrer seg opp Mount Doom til lyden av... ingenting? Eller Katniss Everdeen som kjører i en vogn i flammer gjennom Capitol, uten trommer som drønner og majestetiske horn? Litt kjedelig, ikkesant? Musikk er viktig i film for å lage en viss stemning. Men hvordan ble det sånn? Er det bare for å få oss til å føle, eller ligger det en historie bak filmmusikken?

• Alexander Refsum Jensenius & Karoline Ruderaas Jerve (2024). Verdens største musikkeksperiment. [Journal]. Ballade. Fulltekst i vitenarkiv Vis sammendrag

  I kveld møtes NRKs populærvitenskapelige radioprogram Abels tårn, KORK og forskningsprosjektet MusicLab for å måle hva som skjer mellom musikere og publikum når de utsettes for musikk.

• Alexander Refsum Jensenius, Anne-Birgitte Rønning, Dag Trygve Truslew Haug & Steinar Andreas Sæther (2024). Frokostmøte: Humaniora og infrastruktur. Fulltekst i vitenarkiv Vis sammendrag

  Heller ikke en humanistisk forsker klarer seg helt på egenhånd. Men hvilken infrastruktur trenger vi for humanistisk forskning? Infrastrukturer kommer i mange størrelser og former, og vi snakker stadig mer om dem - særlig når samtalen dreier seg om det digitale skiftet. Derfor spør vi: hva er humanioras infrastrukturer? Hvilke forskjeller og likheter er det mellom de forskjellige fagene på HF? Hvordan kan vi best sørge for at nødvendig infrastruktur er på plass? For å gi seg i kast med disse spørsmålene har vi samlet et panel med erfarne forskere og undervisere fra ulike HF-fag som alle i tillegg har erfaring fra lederroller og verv med betydning for hvordan HF og UiO forholder seg til infrastruktur.

• Torkild Jemterud, Alexander Refsum Jensenius, Guro Engvig Løseth & Kolbjørn Holthe (2024). ABELS KORK - Verdens største(?) musikkeksperiment. [Radio]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  Hvordan påvirker musikk oss? Hva skjer i hjernen vår når vi hører en melodi vi liker – eller misliker? Hvorfor reagerer vi forskjellig på ulike typer musikk? Og hvordan klarer et helt orkester å spille plettfritt sammen? Og forresten: trenger de egentlig å ha en dirigent? Hver fredag svarer panelet i Abels tårn på alle slags vitenskapelige spørsmål, store og små, fra lytterne. Noen vil langt ut i verdensrommet, og andre er mer opptatt av hva som skjer på kjøkkenbenken. Men musikk er noe vi alle har et forhold til. Den er rundt oss hele tiden, og det er mye å undre seg over når det gjelder musikk og hvordan den taler til oss på dype personlige plan. Derfor har Abels tårn og KORK gått sammen med RITMO og Universitetsbiblioteket for å lage en musikalsk utgave av det populære vitenskapsprogrammet. Vi introduserer: Abels KORK!

• Alexander Refsum Jensenius, Maham Riaz, Thomas L Oldfield & Karenina Juarez (2024). RITMO-studenter presenterer nye installasjoner. Fulltekst i vitenarkiv Vis sammendrag

  Studenter tilknyttet RITMO stiller ut prosjektene sine på Popsenteret: en interaktiv symaskin fra 1911, et lyttende og snakkende speil, og et interaktivt maleri. Hvordan kan slike objekter gi musikalske opplevelser?

• Alexander Refsum Jensenius (2024). Challenges and Possibilities of Open Music Data. Fulltekst i vitenarkiv Vis sammendrag

  The Sempre Autumn conference was an online student study day, held on Friday 8th November 2024, with a combination of student presentations, research speed dating, and a special session on open research featuring Professor Iain Brennan (University of Hull), Professor Tuomas Eerola (Durham University), and Professor Alexander Refsum Jensenius (University of Oslo). The event was open to doctoral students at any stage of their research and those thinking of applying for doctoral study. We invited proposals for short presentations (10 minutes + 5 for Q&A) from doctoral students, on any aspect of music psychology or music education.

• Kjell Andreas Oddekalv & Alexander Refsum Jensenius (2024). LAB.prat #3 og "NM i stillstand": Kan man stå stille til musikk? Fulltekst i vitenarkiv
• Agata Bochynska, Rebecca Josefine Five Bergstrøm & Alexander Refsum Jensenius (2024). Why do we need licenses on data? Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). Mock PhD Interview. Fulltekst i vitenarkiv Vis sammendrag

  The objective of the interview mockup is to provide an example of what a PhD interview looks like. We want to provide a safe space to ask questions to an experient interviewer and to understand how to better prepare for the interview if you're applying to PhD positions in other countries. LatAm BISH Bash is a series of meetings and networking events that connect engineers, researchers, students, and companies working on speech, acoustics, and audio processing. This time, we will have a PhD mockup interview conducted by Alexander Jensenius, who is a professor of music technology and Director of RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion.

• Alexander Refsum Jensenius (2024). Some Challenges in Musical Artificial Intelligence. Fulltekst i vitenarkiv Vis sammendrag

  In this presentation, I highlight RITMO's interdisciplinary approach, combining musicology, psychology, and informatics to study rhythm as a fundamental human property. I emphasise the intersection of humans and machines in AI, advocating for a balanced approach that incorporates both rule-based and learning-based systems, especially in music. I also address critical aspects like code sharing, data accessibility (FAIR principles), privacy, copyright, and ethical considerations within the AI landscape. Finally, I call for the development of AI for creative use, considering its impact on knowledge, ethics, and human experience, while also examining policy and societal rights.

• Anne-Kristin Solbakk & Alexander Refsum Jensenius (2024). Research Ethics and Legal Perspectives. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Torkild Jemterud (2024). Hva er verdens mest klissete substans? [Radio]. NRK P2 - Abels tårn. Fulltekst i vitenarkiv Vis sammendrag

  Har menneske rytme? Hvorfor låter to toner med ulik grunntone forskjellig? Hvorfor grynter pianister?

• Balint Laczko & Alexander Refsum Jensenius (2024). Poster for "Synth Maps: Mapping The Non-Proportional Relationships Between Synthesizer Parameters and Synthesized Sound". Fulltekst i vitenarkiv Vis sammendrag

  Parameter Mapping (PM) is probably the most used design approach in sonification. However, the relationship between a synthesizer’s input parameters and the perceptual distribution of its output sounds might not be proportional, limiting its ability to convey relationships within the source data in the sound. This study evaluates a basic Frequency Modulation (FM) synthesis module with perceptually motivated descriptors, measures of spectral energy distribution, and latent embeddings of pre-trained audio representation models. We demonstrate how these metrics do not indicate straightforward relationships between synthesis parameters and perceived sound. This is done using interactive audiovisual scatter plots—Synth Maps—that can be used to explore the sound distribution of the synthesizer and qualitatively evaluate how well the different representations align with human perception. Link to the code and the interactive Synth Maps are available.

• Alexander Refsum Jensenius (2024). Sound Actions: Conceptualizing Musical Instruments. Fulltekst i vitenarkiv Vis sammendrag

  El martes 6 de agosto, a las 14:30 horas, se realizará la charla "Sound Actions: Conceptualizing Musical Instruments" que impartirá Alexander Refsum Jensenius, profesor de Tecnología Musical y Director del Centro RITMO para Estudios Interdisciplinarios en Ritmo, Tiempo y Movimiento en la Universidad de Oslo. Alexander Refsum Jensenius es profesor de Tecnología Musical y Director del Centro RITMO para Estudios Interdisciplinarios en Ritmo, Tiempo y Movimiento en la Universidad de Oslo. En la charla, que se realizará en idioma inglés, el académico presentará algunos aspectos destacados de su libro "Sound Actions: Conceptualizing Musical Instruments". Esto incluye una discusión sobre las diferencias entre los instrumentos acústicos y electroacústicos y cómo los instrumentos de hoy en día no son solo "creadores de sonido", sino que cada vez más son "creadores de música". Ejemplificará este cambio con varios de sus propios nuevos instrumentos para la expresión musical (NIME).

• Bilge Serdar Göksülük, Aleksander Tidemann & Alexander Refsum Jensenius (2024). Telematic Testing: One Performance in Three Locations. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius, Synne Vo, Tejaswinee Kelkar & Yngvar Kjus (2024). Musikksnakk: Musikk på Spotify - hvordan funker algoritmene? Fulltekst i vitenarkiv Vis sammendrag

  Hvorfor er det slik at plateselskaper ønsker at artister skal lage TikTok´er for å promotere musikken sin? Hva bestemmer hvilke musikkanbefalinger du får i Spotify? Og hvordan bruker plateselskapene dataene dine til å generere klikk og lytt? Bli med på en samtale om algoritmer på apper som TikTok og Spotify - og hvordan de påvirker musikksmaken din! Til å diskutere dette kommer: - Synne Vo. Hun er en artist som slo igjennom på TikTok, og bruker plattformen aktivt for å promotere musikken sin. Hun kommer til panelet for å dele sine erfaringer med bransjen og appene. - Yngvar Kjus. Han er professor i musikk og medier på UiO, og har forsket mye på populærmusikk, musikkproduksjon og musikkbransjen. - Tejaswinee Kelkar. Hun er er en sanger og forsker innen musikk og bevegelse. Hun har tidligere jobbet som dataanalytiker i Universal Music Norway og ved RITMO Center of Excellence ved Universitetet i Oslo. Samtalen ledes av Alexander Refsum Jensenius. Han er professor i musikk ved Universitetet i Oslo, og leder av RITMO - Senter for tverrfaglig forskning på rytme, tid og bevegelse. Han prøver hele tiden å forstå mer om hvordan og hvorfor mennesker beveger seg til musikk.

• Alexander Refsum Jensenius (2024). Interdisiplinæritet - et musikkperspektiv. Fulltekst i vitenarkiv Vis sammendrag

  Skal snakke om skjæringspunktet mellom psykologi, informatikk og musikk og arbeidet som foregår på instituttet han leder: RITMO, Senter for Interdisiplinære studier i rytme, tid og bevegelse ved Universitetet i Oslo. Alexander er både forsker og musiker. Han har en sammensatt bakgrunn bestående av musikk, informatikk, fysikk og matematikk og hans praktisk rettede forskning har bredt nedslagsfelt. Digitale verktøy som har blitt utviklet ved RITMO blir nå også brukt innen medisinsk forskning på ADHD og Cerebral Parese.

• Seyed Mojtaba Karbasi, Silje Pileberg & Alexander Refsum Jensenius (2024). A newly developed robot can play the drums, listen, and learn. [Internet]. Science Norway. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). 20 Years of Piano Research at the University of Oslo. Fulltekst i vitenarkiv Vis sammendrag

  In this lecture-recital, I will present piano-related research from the Department of Musicology over the last twenty years. I will also reflect on my role in this history, both as an artist and scientist. Finally, I will scrutinize the department's new Disklavier while performing various exploratory etudes.

• Alexander Refsum Jensenius (2024). NOR-CAM as an enabler for flexible academic career paths in and out of Norway. Fulltekst i vitenarkiv Vis sammendrag

  Dette webinaret er det fjerde i rekka og vil handla om forslaget om attraktive karrierar i akademia. Europakommisjonen sitt utgangspunkt er at internasjonalt utdanningssamarbeid og kvalitetsutvikling i høgare utdanning ikkje blir støtta og verdsett i så stor grad som naudsynt i dei akademiske karrierane, og at dette er eit hinder for utvikling av europeisk høgare utdanning. Kva inneber dette forslaget, og korleis ser det ut frå perspektivet til europeiske og norske universitet? Korleis heng den europeiske prosessen for utvikling av akademiske karrierar saman med det som skjer i Noreg?

• Alexander Refsum Jensenius (2024). Musikk og kunstig intelligens. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). Mock PhD Interview. Fulltekst i vitenarkiv Vis sammendrag

  The objective of the interview mockup is to provide an example of what a PhD interview looks like. We want to provide a safe space to ask questions to an experient interviewer and to understand how to better prepare for the interview if you're applying to PhD positions in other countries.

• Alexander Refsum Jensenius (2024). Tverr faglighet? Muligheter og utfordringer med fler- og tverrfaglighet. Fulltekst i vitenarkiv Vis sammendrag

  Tverrfaglighet nevnes gjerne i festtaler og søknadstekster, men hvordan er virkeligheten? I denne presentasjonen vil professor Alexander Refsum Jensenius diskutere egne erfaringer med fler- og tverrfaglige forskningsprosjekter. Han vil også presentere hvordan RITMO jobber med å utvikle en forskningskultur og prosjektsøknader på kryss og tvers av gjeldende fagdisipliner.

• Alexander Refsum Jensenius & Agata Bochynska (2024). Opphavsrettslige utfordringer ved overgangen til FAIR forskningsdata ved UiO. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). Hjernen i sentrum: Kunst. Fulltekst i vitenarkiv Vis sammendrag

  Hvorfor er noen musikalske og andre ikke? Hvordan har det seg at kunst kan treffe oss så voldsomt - og så ulikt! Ulike kunstneriske uttrykk som musikk, malerkunst, litteratur, dans og teater kommer uten fasit og tolkes vidt forskjellig fra person til person. Er det hjernen som styrer dette? Det er åpenbart at hjernen vår er aktiv og ikke passiv når vi opplever kunst. Hvorfor er det sånn? Gir kunstneriske opplevelser god hjernetrim? Er kunst viktig for hjernehelsen?

• Alexander Refsum Jensenius (2024). Vurderinger i akademiske karriereløp. Fulltekst i vitenarkiv Vis sammendrag

  UHRs arbeidsgruppe for åpen vurdering utarbeidet i 2021 en veileder for vurdering i akademiske karriereløp – NOR-CAM. Det finnes også andre initiativer for vurdering av akademiske karrierer, deriblant det europeiske Coalition for Advancing Research Assessment (CoARA). Men hva er verdien av disse vurderingsveilederne? Hvem er de for og hva er de ment å få til? Og hvilke vurderingsveiledere er det som blir viktig i tiden som kommer?

• Alexander Refsum Jensenius (2024). MusicLab as an Open Science innovation project between a research centre and the University library. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). Fostering the emergence of new research data careers. Fulltekst i vitenarkiv Vis sammendrag

  Equipping future graduates, researchers, and society at large with the skills needed to support the digital transition is becoming a priority on European, national, and institutional agendas. Research data management (RDM) and FAIR data are part of this skillset, and research data careers are increasingly in demand in both the public and private sectors. At organisational level, the availability of staff with data competencies is crucial to support the implementation of FAIR RDM practices and, ultimately, to foster the transition towards Open Science. Data collected by the European University Association show for example how universities are creating dedicated research data support services and hiring specific support staff, but significant disparities exist between countries and institutions. RDM responsibilities still fall to existing members of staff. In many cases, technical skills are only partially available and new dedicated staff is required. Universities who have hired specific research data support roles may still have problems meeting the growing demand for research data expertise. Within this context, a major challenge is represented by the absence of a shared recognition and definition of research management professional profiles, despite recent progress being made at European level through ERA Action 17 on research management. This session will address needs, challenges and opportunities related to the emergence of new research data careers, including the identification of key skills, clear career paths and their integration into research assessment systems. It will do so by showcasing best practices and reflecting on ways forward with a panel of experts representing different actors, i.e. university leaders, research data practitioners and policymakers.

• Alexander Refsum Jensenius, Solveig Sørbø & Rebecca Josefine Five Bergstrøm (2024). Åndsverk, åpenhet, kunstnerisk forskning og forskningsbasert kunst: Erfaringer med MusicLab. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). Interdisciplinarity. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2024). Musikk, Data og KI. Fulltekst i vitenarkiv Vis sammendrag

  Musikk er en av de mest komplekse menneskelige kommunikasjonsformene som finnes og egner seg derfor godt for å utforske kunstig intelligens. Presentasjonen beskriver hvordan musikkforskere, psykologer og informatikere jobber sammen ved RITMO for å forstå mer om rytme, tid og bevegelse hos mennesker og maskiner.

• Alexander Refsum Jensenius (2024). Musikk og kunstig intelligens. Fulltekst i vitenarkiv
• Anna-Maria Christodoulou, Sagar Dutta, Olivier Lartillot, Kyrre Glette & Alexander Refsum Jensenius (2024). Exploring Convolutional Neural Network Models for Multimodal Classification of Expressive Piano Performance. Fulltekst i vitenarkiv
• Anna-Maria Christodoulou & Alexander Refsum Jensenius (2024). Navigating Challenges in Multimodal Music Data Management for AI Systems. Fulltekst i vitenarkiv Vis sammendrag

  The responsible management of multimodal music datasets plays a crucial role in the development and evaluation of music processing systems. However, navigating the landscape of legal and ethical considerations can be a complex and challenging task due to the magnitude and diversity of such. This paper clarifies these divergent legal and ethical considerations and highlights the challenges associated with multimodality and AI systems. Focusing on the most crucial stages of multimodal music data management, we provide recommendations for tackling legal and ethical challenges. We emphasize the importance of establishing an inclusive and accessible music data environment, encouraging researchers and data users to adopt responsible approaches towards managing multimodal music data collections.

• Alexander Refsum Jensenius (2023). Wishful thinking about CVs: Perspectives from a researcher. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2023). Sound Actions: An Embodied approach to a Digital Organology. Fulltekst i vitenarkiv Vis sammendrag

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.

• Alexander Refsum Jensenius (2023). Conceptualizing Musical Instruments. Fulltekst i vitenarkiv Vis sammendrag

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my recent book "Sound Actions". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments.

• Alexander Refsum Jensenius (2023). Career Assessment Matrix in Norway and how to adapt your CV to OS practices. Fulltekst i vitenarkiv Vis sammendrag

  The Norwegian Career Assessment Matrix (NOR-CAM) is a toolbox for recognition and rewards in academic careers.

• Alexander Refsum Jensenius (2023). Explorations of human micromotion through standing still. Fulltekst i vitenarkiv Vis sammendrag

  Throughout 2023, I will stand still for ten minutes around noon every day, in a different room each day. The aim is to collect data about my micromotion and compare it to the qualities of the environment. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for conscious and unconscious control of musical sounds.

• Alexander Refsum Jensenius (2023). Conceptualizing Musical Instruments. Fulltekst i vitenarkiv Vis sammendrag

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.

• Alexander Refsum Jensenius (2023). Sound Actions: Conceptualizing Musical Instruments. Fulltekst i vitenarkiv Vis sammendrag

  How do new technologies change how we perform and perceive music? What happens when composers build instruments, performers write code, perceivers become producers, and instruments play themselves? These are questions addressed in the new book by Professor Alexander Refsum Jensenius: Sound Actions: Conceptualizing Musical Instruments published by the MIT Press.

• Alexander Refsum Jensenius (2023). Explorations of human micromotion through standing still. Fulltekst i vitenarkiv Vis sammendrag

  Throughout 2023, I will stand still for ten minutes around noon every day, in a different room each day. The aim is to collect data about my micromotion and compare it to the qualities of the environment. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for conscious and unconscious control of musical sounds.

• Alexander Refsum Jensenius (2023). Sound Actions - Conceptualizing Musical Instruments. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Knut-Øyvind Hagen (2023). Stoler du på stemmer? Det må du slutte med. Nå kan kunstig intelligens få hvem som helst til å si hva som helst. [Radio]. NRK P1 - Ukeslutt. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2023). Forskarperspektivet. Fulltekst i vitenarkiv Vis sammendrag

  Denne hausten har Utkast til strategi for norsk vitenskapelig publisering etter 2024 vore ute til høyring. Strategien skildrar tilrådingar til både forskarar, forskingsutførande institusjonar, forskingsfinansiørar og myndigheiter. I dette seminaret inviterer vi ein av dei som har utarbeidd strategien, Vidar Røeggen frå Universitets- og Høgskolerådet, til å fortelje om arbeidet med rapporten, innspel som har komme inn og korleis han ser for seg det framtidige publiseringslandskapet. Deretter går ordet til Alexander Jensenius (UiO, NOR-CAM), Johanne Raade (UiT) og Marte Qvenild (NFR), til å diskutere korleis dei ser framtida for open publisering etter 2024, frå perspektivet til ein forskar, institusjon og finansiør, høvesvis. Ser dei andre utfordringar enn dei som er forsøkt møtt i den nye strategien?

• Alexander Refsum Jensenius (2023). Exploring Human Micromotion Through Standing Still. Fulltekst i vitenarkiv Vis sammendrag

  Moving slowly likely puts us into a special state of mind. Subjective reports from various practices including dance, Tai Chi and walking meditation suggest that slow movements can bring participants into a special state involving increased relaxation and awareness. Interestingly, relatively little research has been performed specifically to understand the underlying mechanisms and the possible applications of human slow movement. One reason might be that slow movements are not common in day-to-day life: when we want to move – for example to pick up our cup of coffee - we usually want to do it now. Some evidence suggests that humans tend to avoid moving slowly in different tasks, for example, when improvising movements together. The goal of this meeting is to bring together scholars and practitioners interested in slow movement, and to foster interdisciplinary research on this somewhat neglected topic.

• Alexander Refsum Jensenius (2023). Tverrfaglig forskning på rytme, tid og bevegelse. Fulltekst i vitenarkiv Vis sammendrag

  RITMO er et unikt SFF på grunn av sin radikalt tverrfaglige oppbygning. Hvordan fungerer det i praksis?

• Alexander Refsum Jensenius & James Tytko (2023). Emerging tech creates music from dance movements. [Internet]. The Naked Scientists. Fulltekst i vitenarkiv Vis sammendrag

  Listen to the melodies composed with the help of motion capture body suits...

• Alexander Refsum Jensenius (2023). Still Standing: The effects of sound and music on people standing still. Fulltekst i vitenarkiv Vis sammendrag

  Throughout 2023, I have been standing still for ten minutes around noon every day, in a different room each day. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for the conscious and unconscious control of musical sounds.

• Alexander Refsum Jensenius (2023). Still Standing: The effects of sound and music on people standing still. Fulltekst i vitenarkiv Vis sammendrag

  Throughout 2023, I have been standing still for ten minutes around noon every day, in a different room each day. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for the conscious and unconscious control of musical sounds.

• Alexander Refsum Jensenius & Joachim Poutaraud (2023). Video Visualization. Fulltekst i vitenarkiv Vis sammendrag

  This workshop is targeted at students and researchers working with video recordings. Even though the workshop will be based on quantitative tools, the aim is to provide solutions for qualitative research. This includes visualization techniques such as motion videos, motion history images, and motiongrams, which, in different ways, allow for looking at video recordings from different temporal and spatial perspectives. It also includes basic computer vision analysis modules, such as extracting quantity and centroid of motion, and using such features in analysis. The participants will learn to use the Musical Gestures Toolbox for Python, a collection of high-level modules for easily generating all of the above-mentioned visualizations and analyses. This toolbox was initially developed for analyzing music-related body motion but is equally helpful for other disciplines working with video recordings of humans, such as linguistics, psychology, medicine, and educational sciences.

• Alexander Refsum Jensenius (2023). Musikk og kunstig intelligens. Fulltekst i vitenarkiv
• Sofie Retterstøl Olaisen, Alexander Refsum Jensenius & Jonna Katariina Vuoskoski (2023). Una må danse når ho høyrer musikk: – Eit urgamalt instinkt. [Internet]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  Urgamle instinkt blir sett i sving når hjernen din oppfattar musikk. No kan forskarane også sjå danselysta i augo dine.

• Alexander Refsum Jensenius (2023). RITMO as incubator/driver for Open Science. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2023). CV-modul som grunnlag for NOR-CAM. Fulltekst i vitenarkiv Vis sammendrag

  Vurdering av forskning er på dagsorden som aldri før. NIFU inviterer derfor til åpent seminar om helhetlig vurdering av forskere og forskning. Bakteppet er den nye europeiske avtalen om evaluering av forskning og den nye norske veilederen for karrierevurdering av forskere. Seminaret arrangeres i samarbeid mellom NIFU (R-Quest), UHR og Det nasjonale publiseringsutvalget.

• Alexander Refsum Jensenius (2023). NOR-CAM and European agreement on reforming research assessment. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2023). Ny teknologi vil alltid endre musikken. Aftenposten (morgenutg. : trykt utg.). ISSN 0804-3116. Fulltekst i vitenarkiv Vis sammendrag

  Musikerne forsvant ikke med grammofonen, det gjør de ikke nå heller.

• Dana Swarbrick, Anne Danielsen, Alexander Refsum Jensenius & Jonna Katariina Vuoskoski (2023). The Effects of “Feeling Moved” and “Groove” On Standstill. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2023). How Findable, Accessible, Interoperable and Reusable data enables research-led education. Fulltekst i vitenarkiv Vis sammendrag

  FAIR data is an essential component of the open research ecosystem. In this article, Alexander Refsum Jensenius argues that "FAIRification" can also benefit research-based and research-led education, providing opportunities to bring together different university missions.

• Alexander Refsum Jensenius (2023). Vurdering av forskere. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius, Anne Danielsen & Pia Søndergaard (2023). Hvor blir det av UiOs alumni-satsing? Fulltekst i vitenarkiv Vis sammendrag

  Det snakkes i festlige lag om at våre alumni er en ressurs. Dessverre viser praksis at man ikke bare ignorerer tidligere ansatte, men aktivt forsøker å fjerne alle spor av at de har forsket ved institusjonen.

• Yngve Vogt, Stefan Johannes Karl Krauss, Joachim Mossige, Dag Kristian Dysthe, Luiza Angheluta & Alexander Refsum Jensenius (2023). Bereder grunnen for kunstige organer. [Journal]. Apollon. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Grethe Tidemann (2023). Cristin forsvinner. Uklart hva som blir bedre i det nye systemet. [Internet]. Uniforum. Fulltekst i vitenarkiv Vis sammendrag

  Cristin, det nasjonale systemet for forskningsdokumentasjon, skal erstattes av Nasjonalt vitenarkiv. Men hva som blir bedre i det nye systemet kan verken IT-direktøren eller forskningsdirektøren ved UiO svare på.

• Alexander Refsum Jensenius (2023). Experiences and advice from several humanities/life science collaborations. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2023). Oppsummering av arbeidet med opphavsrett og lisenser i QualiFAIR. Fulltekst i vitenarkiv Vis sammendrag

  Forskere ofte stiller spørsmål på hvordan de skal håndtere opphavsrett når det samler inn data. Hvem eier data? Hvem har rettigheter og hvilke rettigheter har man som prosjektleder eller prosjektdeltaker? Hvilke lisenser skal man velge når man vil dele ulikt materiale slikt som artikler, datasett, kildekode, bilder, lyd- og videoopptak? Hvordan kan man bruke andres materiale som ikke har spesifikke lisenser? Hvordan kan UiO legge bedre til rette for at studenter og ansatte får et bevisst forhold til opphavsrett?

• Alexander Refsum Jensenius (2023). Hva vil det si å følge prinsippene i NOR-CAM og CoARA i praksis? Erfaringer fra RITMO. Fulltekst i vitenarkiv Vis sammendrag

  NARMA vårkonferanse 2023 – Forskningsstøtte i uforutsigbare tider – NARMA 10 år.

• Maham Riaz, Finn Upham, Kayla Burnim, Laura Bishop & Alexander Refsum Jensenius (2023). Comparing inertial motion sensors for capturing human micromotion. Fulltekst i vitenarkiv Vis sammendrag

  The paper presents a study of the noise level of accelerometer data from a mobile phone compared to three commercially available IMU-based devices (AX3, Equivital, and Movesense) and a marker-based infrared motion capture system (Qualisys). The sensors are compared in static positions and for measuring human micromotion, with larger motion sequences as reference. The measurements show that all but one of the IMU-based devices capture motion with an accuracy and precision that is far below human micromotion. However, their data and representations differ, so care should be taken when comparing data between devices.

• Alexander Refsum Jensenius (2023). Exploring large datasets of human, music-related standstill. Fulltekst i vitenarkiv Vis sammendrag

  Throughout 2023, I will stand still for ten minutes around noon every day, in a different room each day. The aim is to collect data about my micromotion and compare it to the qualities of the environment. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. In the talk, I will present results from the annual Norwegian Championships of Standstill, where we have studied the influence of music on people's micromotion. I will also talk about how micromotion can be used in interactive music systems, allowing for conscious and unconscious control of musical sounds.

• Olivier Lartillot, Hans-Hinrich Thedens, Olav Luksengård Mjelva, Anders Elovsson, Lars Løberg Monstad & Mats Sigvard Johansson [Vis alle 8 forfattere av denne artikkelen] (2023). Norwegian Folk Music & Computational Analysis. Fulltekst i vitenarkiv Vis sammendrag

  As a prélude for Norway's Constitution Day, this special event celebrated the Norwegian folk music tradition, showcasing our new online archive and demonstrating the richness of Hardanger fiddle music, with live performance. One aim of the project is to conceive new technologies allowing to better access, understand and appreciate Norwegian folk music. In this event, we introduced a new online version of the Norwegian Folk Music Archive and discuss underlying theoretical and technical challenges. A live concert/workshop, with the participation of Olav Luksengård Mjelva, offered a lively introduction to Hardanger fiddle music and its elaborate rhythm. The interests and challenges of automated transcription and analysis were discussed, with the public release of our new software Annotemus. The symposium was organised in the context of the MIRAGE project (RITMO, in collaboration with the National Library of Norway's Digital Humanities Laboratory).

• Alexander Refsum Jensenius & Astrid Johanne Sørnes (2023). Ny Beatles-musikk. [Radio]. NRK Nyhetsmorgen. Fulltekst i vitenarkiv Vis sammendrag

  The Beatles gir ut ny musikk

• Alexander Refsum Jensenius & Astrid Johanne Sørnes (2023). Beatles med ny låt. [Internet]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  «Now And Then» er ferdigstilt av Paul McCartney og Ringo Starr – med litt hjelp frå kunstig intelligens.

• Alexander Refsum Jensenius & Ingvild Rosenberg (2023). Unik forskningskonsert. [Radio]. NRK P1. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2023). Introducing MusicLab. Fulltekst i vitenarkiv Vis sammendrag

  In 2021, one of the world’s finest string quartets, The Danish String Quartet (DSQ), and a large team of international researchers based at RITMO, co-hosted MusicLab Copenhagen – a groundbreaking event where DSQ performed their best repertoire while researchers experimented with, measured, and analyzed the experiences and behavior of musicians and audience. Some of the questions we tried to answer were: Do we become one grand “we” when absorbed in music together? How do we synchronize our bodily rhythms with the music during a concert? As an innovative musical and scientific format, the concert has been widely reported and won “Event of the Year” by the Danish National Broadcasting Corporation (DR P2). Now, the researchers have completed their analyses, and we are excited to share findings in a hybrid launch event.

• Tonette N. Haaland & Alexander Refsum Jensenius (2023). SSO deltar i forskning: – Skal finne ut hvordan musikk påvirker oss. [Journal]. Rogalands avis. Fulltekst i vitenarkiv Vis sammendrag

  Stavanger Symfoniorkester (SSO) inviterer elever på 5.-10. trinn på konsert, for å gjennomføre forskning.

• Alexander Refsum Jensenius & Kayla Burnim (2023). Forskere inntok Konserthuset. [Journal]. Stavanger Aftenblad. Fulltekst i vitenarkiv Vis sammendrag

  Hundrevis av elever kom for å høre på Stavanger symfoniorkester. Mens orkesteret spilte, var musikerne, dirigenten og publikum del av et unikt forskningsprosjekt.

• Alexander Refsum Jensenius (2023). Rhythmic Data Science. Fulltekst i vitenarkiv Vis sammendrag

  Rhythm is everywhere, from how we walk, talk, dance and play to telling stories about our past and even predicting the future. Rhythm is key to how we interact with our world. Our heartbeat, nervous system, and other bodily cycles work through rhythm. As such, rhythm is a crucial aspect of human action and perception, and it is in complex interaction with the world's cultural, biological and mechanical rhythms. At RITMO, they research rhythmic phenomena and their complex relationships with the rhythms of human bodies and brains. In the talk, Alexander will present examples of how they record, synchronize, and analyze data of complex, rhythmic human behavior, such as real-world concerts.

• Ivica Ico Bukvic, Alexander Refsum Jensenius, Hollis Wittman & Raul Masu (2023). Implementing the new template for NIME music proceedings with the community. Fulltekst i vitenarkiv Vis sammendrag

  We will analyze a new possible template for NIME submissions which would simplify the integration of NIME music performances in the COMPEL, a database which facilitates navigation across different categories (pieces, persons, instruments). The template emerges from a workshop run last year at NIME about the structure of COMPEL and the process of entering all performances presented last year. From this workshop we expect to improve the template and validate it with a community.

• Seyed Mojtaba Karbasi, Alexander Refsum Jensenius, Rolf Inge Godøy & Jim Tørresen (2023). Exploring Emerging Drumming Patterns in a Chaotic Dynamical System using ZRob. Fulltekst i vitenarkiv Vis sammendrag

  ZRob is a robotic system designed for playing a snare drum. The robot is constructed with a passive flexible spring-based joint inspired by the human hand. This paper describes a study exploring rhythmic patterns by exploiting the chaotic dynamics of two ZRobs. In the experiment, we explored the control configurations of each arm by trying to create un- predictable patterns. Over 200 samples have been recorded and analyzed. We show how the chaotic dynamics of ZRob can be used for creating new drumming patterns.

• Alexander Refsum Jensenius (2023). The assessment of researchers is changing – how will it impact your career? Fulltekst i vitenarkiv Vis sammendrag

  Changes are happening in the world of research assessment, for example by recognizing several competencies as merits and a better balance between quantitative and qualitative goals. In Norway, for example, Universities Norway presented the NOR-CAM report in 2021 which sparked a movement for reform. As an early career researcher, it's crucial to understand how these changes may impact your research career. In this talk, Jensenius will discuss the evolving landscape of research assessment and what it means for you.

• Alexander Refsum Jensenius (2023). Innovasjon og åpen forskning. Fulltekst i vitenarkiv
• Raul Masu, Fabio Morreale & Alexander Refsum Jensenius (2023). The O in NIME: Reflecting on the Importance of Reusing and Repurposing Old Musical Instruments. Fulltekst i vitenarkiv Vis sammendrag

  In this paper, we reflect on the focus of “newness” in NIME research and practice and argue that there is a missing O (for “Old”) in framing our academic discourse. A systematic review of the last year’s conference proceedings reveals that most papers do, indeed, present new instruments, interfaces, or pieces of technology. Comparably few papers focus on the prolongation of existing NIMEs. Our meta-analysis identifies four main categories from these papers: (1) reuse, (2) update, (3) complement, and (4) long-term engagement. We discuss how focusing more on these four types of NIME development and engagement can be seen as an approach to increase sustainability.

• Alexander Refsum Jensenius & Christof Zürn (2023). Standing still with Alexander Refsum Jensenius. [Internet]. The Power of Music Thinking. Fulltekst i vitenarkiv Vis sammendrag

  What is the use of standing still for 10 minutes? I was asking myself when I saw a post on social media. It was a double picture of a man with a mobile phone around his neck displaying some data, and another picture showed the view he saw at that moment. I learned that he stood there for 10 minutes without any movement, listening to the sound that was already there. There were many pictures like this, and I decided to get in contact. So, today, we are in Oslo. We speak with Alexander Refsum Jensenius, a professor of music technology at the University of Oslo, a book author, a music researcher and researching musician working in the fields of embodied music cognition and new interfaces for musical expression. Alexander shares with us his experiences while performing and testing with artistic methods of embodied listening and how people experience music and sound. This goes from experiments with and without the conductor of a Symphony Orchestra to the sounds of our kitchen appliances. We talk about his motion capture lab, where a person’s exact location and micro-movements can be detected while they hear different kinds of music, and how the researchers can understand what moves them. Alexander shares insights about the Norwegian Championship of Stand Still, where until now, 1000s of people have participated, and the winner is the person with the lowest average velocity on standing the stillest over some time. Alexander explains the interplay of body and mind and reveals some secrets on how to move people, for example, on the dance floor or to calm them down. It all has to do with our bpm, the average heartbeat of about 60 beats a minute.

• Alexander Refsum Jensenius (2023). Observing spaces while standing still. Fulltekst i vitenarkiv Vis sammendrag

  Throughout 2023, I stand still for ten minutes around noon every day, in a different room each day. This project follows a decade-long exploration of human micromotion from both artistic and scientific perspectives. Previously, I have been interested in the impact of music. Now, I am listening to ventilation systems, elevators, and people walking and talking and reflecting on how they influence my body and mind. The aim is to understand more about the rhythms of the environment.

• Alexander Refsum Jensenius (2023). RITMO Senter for tverrfaglig forskning på rytme, tid og bevegelse. Fulltekst i vitenarkiv Vis sammendrag

  RITMO er et tverrfaglig senter som ønsker å avdekke de kognitive mekanismene som ligger til grunn for menneskelig rytme, i musikk, bevegelse og audiovisuelle medier.

• Alexander Refsum Jensenius (2023). Hvordan en videreutvikling av vurderingssystemet endrer hvordan man jobber faglig. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2023). Musikk og kunstig intelligens. Fulltekst i vitenarkiv Vis sammendrag

  Kunstig intelligens kan allerede skrive noter og mikse musikk. I tiden fremover vil vi se mange eksempler på hvordan maskinlæring tas i bruk i musikkutøving og -produksjon og til å skape nye lytteopplevelser. Men hva er egentlig musikalsk kunstig intelligens? Hva vil det si å trene en maskinlæringsmodell? Vil maskinene gjøre musikere og komponister overflødige? Denne forelesningen vil gi deg en del svar, men også flere spørsmål.

• Alexander Refsum Jensenius (2022). Exploring music performance and perception through motion capture. Fulltekst i vitenarkiv Vis sammendrag

  This talk will present different approaches to capturing human bodily activity. Motion capture can be performed with sensor-based and camera-based systems, each of which has benefits and limitations. Sensor-based systems are flexible and scalable and can easily be used outside laboratory environments. They are good at tracking relative motion and rotation information but less suitable for tracking position. Camera-based systems come in many flavors and can be used with and without markers. They excel at tracking positions but are prone to reflections and environmental noise. As a consequence, camera-based motion capture systems are better suited for laboratory settings. I will discuss my twenty-year-long experience using different motion capture systems to study music-related body motion. This includes research on musicians, including rehearsal techniques and performance strategies. Such studies push the limits of the technology when it comes to precision and accuracy. It is particularly challenging when using motion capture equipment in real-world concert settings. At the University of Oslo, we have successfully captured the motion of both solo and ensemble performances and are currently trying to scale up to a full orchestra. We are also carrying out motion capture of perceivers, audience members in concerts, dancers, and other people moving to music. Through the Norwegian Championship of Standstill, we have delved into human micromotion, the tiniest actions we can perform and perceive. At this level, motion capture can detect physiological signals, such as breathing and heart rate. Data from such studies are interesting scientifically and have also been used in artistic practice. Finally, I will give examples of how real-time motion capture can be used in various creative applications, including "inverse" sonic interaction.

• Seyed Mojtaba Karbasi, Alexander Refsum Jensenius, Rolf Inge Godøy & Jim Tørresen (2022). A Robotic Drummer with a Flexible Joint: the Effect of Passive Impedance on Drumming. Fulltekst i vitenarkiv Vis sammendrag

  Intelligent robots aimed for performing music and playing musical instruments have been developed in recent years. With the advancements in artificial intelligence and robotic systems, new capabilities have been explored in this field. One major aspect of musical robots that can lead to the emergence of creative results is the ability to learn skills autonomously. To make it feasible, it is important to make the robot utilize its maximum potential and mechanical capabilities to play a musical instrument. Furthermore, the robot needs to find the musical possibilities based on the physical properties of the instrument to provide satisfying results. In this work, we introduce a drum robot with certain mechanical specifications and analyze the capabilities of the robot according to the drumming sound results of the robot. The robot has two degrees of freedom, actuated by one quasi direct-drive servo motor. The gripper of the robot features a flexible joint with passive springs which adds complexity to the movements of the drumstick. In a basic experiment, we have looked at the drum roll performance by the robot while changing a few control variables such as frequency and amplitude of the motion. Both single-stroke and double-stroke drum rolls can be performed by the robot by changing the control variables. The effect of the flexible gripper on the drumming results of the robot is the main focus of this study. Additionally, we have divided the control space according to the type of drum rolls. The results of this experiment lay the groundwork for developing an intelligent algorithm for the robot to learn musical patterns by interacting with the drum.

• Finn Upham, Ahmet Emin Memis, Niels Chr. Hansen, Fernando E. Rosas, Maria-Alena Clim & Alexander Refsum Jensenius (2022). Participatory applause: Interactions of audience members clapping at the end of a classical music concert. Fulltekst i vitenarkiv Vis sammendrag

  Participatory applause: Interactions of audience members clapping at the end of a classical music concert According to musicological studies of audience culture, applause is the most overt form of participation allowed to the collections of individuals attending classical music concerts (Brandl-Risi, 2011; Small, 1998; Tröndle, 2020). The final round of applause can exhibit many interesting dynamics related to their collective enthusiasm for the performance (Lupyan & Rifkin, 2003), the local applause culture, and what is on stage during the clapping. Quantitative empirical study of group clapping behaviours has principally depended on participants clapping on request in laboratory settings or A/V recordings from concerts (Neda, 2000) and presentations (Mann et al., 2013). To study the coordination involved in this collective behaviour, we need accurate measurements of individuals clapping voluntarily in a real concert setting. To describe how the appreciative audience members adjust their clapping to each other and the action on stage during the final round of applause, demonstrating their participation at a concert’s end. * After the Danish String Quartet (DSQ) performed their last piece at the Music Lab Copenhagen Concert, the audience clapped continuously for nearly two minutes. During that time, the musicians stood and bowed, had scientific instruments removed from their bodies, left the stage, returned to bow again, and finally left the stage for good. The clapping action of individual participants in this concert experiment was captured by a mobile phone on their chests, and these recordings show how individuals’ clapping contributed to the collective effect shared with the musicians. Through the final applause interval, 70 devices captured clear clap sequences, representing over half of the audience at this chamber performance. In some ways, their applause followed expected patterns for a concert audience. They began to applaud over a very short time interval (Mann et al., 2013), more than half starting within less than a second of each other. After 20 s of independent clapping at rates from under 120 BMP to over 200 BPM, the participants shifted to clapping together on a shared beat, a practice that is common for Danish audiences. This group maintained synchrony for over a minute while steadily accelerating from around 158 BMP to 176 BMP, an expected consequence of mutual adaptation during group clapping (Thomson et al., 2018). The coordinated action was strongest while the musicians were on the stage but a subset of independent clapping broke out while the audience waited for the performers to return for their final round of bows. Participants’ claps were evaluated from two perspectives: the alignment of claps, reflecting the dominant shift from independence to coordination, and the distribution of participants’ clapping rates over time. Despite some measurement challenges, the shift from independent to coordinate clapping emerges strongly from participants’ movements, with the median rate of clapping slowing until a dominant beat takes hold. Individuals’ clap sequences confirm that the independent clapping at the start of the applause is a result of individual participants clapping isochronously at their own rate, separate in rate and phase from their neighbours in the hall. When the audience claps together, they are voluntarily adjusting to the dominant rate and phase of the people in the hall, with little change in the quality of their isochronous clapping action. Drift in the synchronised clapping rate reflects mutual attentiveness while variation in the number of participants contributing to the coordinated claps suggests differences in applause strategy. Many participants opted to coordinate with their peers while some seemed to prioritise reacting to the musicians.

• Dana Swarbrick, Finn Upham, Cagri Erdem, Alexander Refsum Jensenius & Jonna Katariina Vuoskoski (2022). Measuring Virtual Audiences with The MusicLab App: Proof of Concept. Fulltekst i vitenarkiv Vis sammendrag

  We present a proof of concept by using the mobile application MusicLab to measure motion during a livestreamed concert and examining its relation to musical features. With the MusicLab App, participants’ own smartphones’ inertial measurement unit (IMU) sensors can be leveraged to record their motion and their subjective experiences collected through survey responses. The MusicLab Lock-down Rave was an Algorave (live-coded dance music) livestreamed concert featuring prolific performers Renick Bell and Khoparzi. They livestreamed for an international audience who wore their smartphones with the MusicLab App while they listened/danced to the performances. From their acceleration, we computed quantity of motion and compared it to musical features that have previously been associated with music-related motion, namely pulse clarity and low and high spectral flux. By encountering challenges and implementing improvements, the MusicLab App has become a useful tool for researching music-related motion.

• Henrik Herrebrøden, Victor Gonzalez, Jonna Katariina Vuoskoski & Alexander Refsum Jensenius (2022). Pre-recorded sound file versus human coach: Investigating auditory guidance effects on elite rowers. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius, Ivica Ico Bukvic, Hollis Wittman & Andi Ogier (2022). Workshop on NIME Archiving. Fulltekst i vitenarkiv Vis sammendrag

  We propose a workshop to continue discussions in the community about how to best preserve information from the NIME conferences, the NIME community, and the computer music community at large. The workshop will follow up threads from the NIME publication ecosystem workshop (NIME 2020, Birmingham) and the NIMEhub workshop (NIME 2016, Brisbane). The main task is to find a solution for an open, future-oriented, and institutionally recognized archiving solution for the activities of the NIME community. Currently, only NIME publications are archived according to the FAIR principles. No solutions exist for archiving information about instruments/interfaces and other hardware/software-based artifacts produced in the community. Neither do we have a system for describing and preserving compositions/pieces, installations, performances, and workshops.

• Alexander Refsum Jensenius (2022). Diversity in academia: Challenges and opportunities. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2022). Responsible Research and Innovation in Sound and Music Computing. Fulltekst i vitenarkiv Vis sammendrag

  My presentation will focus on how the ongoing shift to Open Research within the field of sound and music computing (SMC) promotes Responsible Research and Innovation (RRI).

• Alexander Refsum Jensenius (2022). Data? Åpen forskningspraksis for ikke-datadrevne fagfelt. Fulltekst i vitenarkiv Vis sammendrag

  Hva er åpen forskning og hva skal til for å etablere en kultur for åpen forskning i humanistiske fag og samfunnsfag? Hvordan vi skal komme til en ny normal der det vi i dag omtaler som «åpen forskning» kun kalles forskning?

• Mari Lesteberg & Alexander Refsum Jensenius (2022). MICRO and MACRO - Developing New Accessible Musicking Technologies. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes the development of two musical instrument prototypes developed to explore how non-haptic music technologies can be accessed from a web browser and how they can offer accessibility for people with low fine motor skills. Two approaches to browser-based motion capture were developed and tested during an iterative design process. This was followed by observational studies of two user groups: one with low fine motor skills and one with normal motor skills. Contrary to our expectations, we found that avoiding the use of buttons and mice did not make the apps more accessible for the participants with low fine motor skills. Furthermore, motion speed was considered more important for people with low motor skills than the size of the control action. The most important finding is that browser-based musical instruments using sensor-based and video-based motion tracking are not only feasible but allow for reaching much larger groups of people than previously possible. This may ultimately lead to both more personalized and accessible musical experiences.

• Dongho Kwak, Michael Joseph Krzyzaniak, Anne Danielsen & Alexander Refsum Jensenius (2022). A mini acoustic chamber for small-scale sound experiments. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes the design and construction of a mini acoustic chamber using low-cost materials. The primary purpose is to provide an acoustically treated environment for small-scale sound measurements and experiments using ≤ 10-inch speakers. Testing with different types of speakers showed frequency responses of < 10 dB peak-to-peak (except the ”boxiness” range below 900 Hz), and the acoustic insulation (soundproofing) of the chamber is highly efficient (approximately 20 dB SPL in reduction). Therefore, it provides a significant advantage in conducting experiments requiring a small room with consistent frequency response and preventing unwanted noise and hearing damage. Additionally, using a cost-effective and compact acoustic chamber gives flexibility when characterizing a small-scale setup and sound stimuli used in experiments.

• Alexander Refsum Jensenius & Jeanette Platou (2022). Kan kunstig intelligens være kreativ? [Radio]. NRK P2 Arena. Fulltekst i vitenarkiv Vis sammendrag

  Hva er AI, eller kunstig intelligens, som vi kaller det på norsk. I Arena i dag ser vi på hvor kunstig intelligensk blir brukt, og hva det funker i. Kan vi få en data til å skrive poesi, og hva med musikken og kunsten?

• Alexander Refsum Jensenius (2022). Erfaringer med å lage 3xMOOC. Fulltekst i vitenarkiv Vis sammendrag

  I denne presentasjonen vil jeg presentere hvordan vi gjennom årene har utviklet tre komplette nettkurs ved Universitetet i Oslo: Music Moves (2016), Motion Capture (2022) og Pupillometry (2023). Fokuset vil ligge på muligheter og utfordringer i video i utdanningssammenheng.

• Simon Høffding & Alexander Refsum Jensenius (2022). MusicLab Copenhagen - en forskningskonsert. Fulltekst i vitenarkiv
• Anne Danielsen & Alexander Refsum Jensenius (2022). Presentation of RITMO Research. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Kevin Ashley (2022). FAIR in Higher Education. Fulltekst i vitenarkiv Vis sammendrag

  Between January 25th and 27th, FAIRsFAIR partners and stakeholders will meet for a series of concluding meetings to deep-dive into the results of FAIRsFAIR. We’ll analyse the impact that we managed to have on the European Research Community. We'll go once more through the tools, guidelines and best practices that we have produced and delivered to researchers, data stewards, decision makers and funders towards a better, more structured approach towards FAIR data management. We’ll take the recommendations we produced and the lessons we learnt and leave them as a legacy for future activities to come.

• Byron Remache-Vinueza & Alexander Refsum Jensenius (2022). Groundbreaking New Technology Allows People To Listen to Music Through Touch. [Internet]. SciTechDaily. Fulltekst i vitenarkiv Vis sammendrag

  An audio-tactile algorithm created by University of Malaga scientists conveys melodic information through vibration.

• Alexander Refsum Jensenius (2022). Kunstfag og åpen forskning. Fulltekst i vitenarkiv Vis sammendrag

  Hvilke dilemmaer oppstår når forskningsdata og resultater skal deles og gjenbrukes? Og hvilke muligheter medfører mer åpenhet og økt deling av data for fag som eksempelvis musikk, visuell kunst, film, scenekunst og design?

• Alexander Refsum Jensenius (2022). RITMO and Interdisciplinarity. Fulltekst i vitenarkiv Vis sammendrag

  In this presentation I will discuss how we have been developing an interdisciplinary research centre, in which researchers from the arts and humanities and the social and natural sciences.

• Byron Remache-Vinueza, Andrés Trujillo-León, Maria-Alena Clim, Fabián Sarmiento-Ortiz, Liliana Topon-Visarrea & Alexander Refsum Jensenius [Vis alle 7 forfattere av denne artikkelen] (2022). Mapping Monophonic MIDI Tracks to Vibrotactile Stimuli Using Tactile Illusions. Fulltekst i vitenarkiv Vis sammendrag

  In this project, we propose an algorithm to convert musical features and structures extracted from monophonic MIDI files to tactile illusions. Mapping music to vibrotactile stimuli is a challenging process since the perceptible frequency range of the skin is lower than that of the auditory system, which may cause the loss of some musical features. Moreover, current proposed models do not warrant the correspondence between the emotional response to music and the vibrotactile version of it. We propose to use tactile illusions as an additional resource to convey more meaningful vibrotactile stimuli. Tactile illusions enable us to add dynamics to vibrotactile stimuli in the form of movement, changes of direction, and localization. The suggested algorithm converts monophonic MIDI files into arrangements of two tactile illusions: “phantom motion” and “funneling”. The validation of the rendered material consisted of presenting the audio rendered from MIDI files to participants and then adding the vibrotactile component to it. The arrangement of tactile illusions was also evaluated alone. Results suggest that the arrangement of tactile illusions evokes more positive emotions than negative ones. This arrangement was also perceived as more agreeable and stimulating than the original audio. Although musical features such as rhythm, tempo, and melody were mostly recognized in the arrangement of tactile illusions, it provoked a different emotional response from that of the original audio.

• Alexander Refsum Jensenius (2022). Open music research between art and science. Fulltekst i vitenarkiv Vis sammendrag

  Many music researchers are turning towards studying music performance and perception in real-world settings. Collecting data in a concert situation is non-trivial, and FAIRifying the data is even more challenging. In this talk, I will discuss some challenges with handling privacy and copyright matters in music research. I will also discuss some benefits of working towards more open music research.

• Alexander Refsum Jensenius (2022). Publish or Perish? Researcher assessment is about to change. Fulltekst i vitenarkiv Vis sammendrag

  In July 2022, the European Commission launched an Agreement On Reforming Research Assessment. After years of talking, there is significant momentum for changing how researchers are assessed. In this talk, I will present some work leading up to the new agreement and how Universities Norway took a lead when developing the Norwegian Career Assessment Matrix (NOR-CAM). The core idea is that academics need to get recognition for a broader range of activities. This is important for transitioning to more open research practices and diverse career paths within and outside academia.

• Amani al Outa, Helene Knævelsrud, Balint Laczko & Alexander Refsum Jensenius (2022). Winner of RRI-inspired transdisciplinary side quest call. [Internet]. Centre for Digital Life Norway. Fulltekst i vitenarkiv Vis sammendrag

  Centre for Digital Life Norway (DLN) is excited to congratulate the team behind the project “The autophagic symphony – Unveiling the final rhythm” as winner of DLN’s RRI-inspired transdisciplinary side quest call.

• Alexander Refsum Jensenius (2022). Alternatives to journal-based metrics in research assessment. Fulltekst i vitenarkiv Vis sammendrag

  Science Europe invites institutional leaders, researchers at all stages of their careers, and experts from the field to join its 18 and 19 October 2022 conference on Open Science to discuss two key questions: (1) Is Open Science ready to become the norm in research? (2) How do we ensure this becomes an equitable transition? To find answers to these questions, the conference will provide a comprehensive overview of practical and policy initiatives, research assessment reforms, and financial measures that support the transition to Open Science. We will also look forward to new and emerging trends.

• Alexander Refsum Jensenius (2022). Experiencing the world through sound actions. Fulltekst i vitenarkiv Vis sammendrag

  This talk will reflect on my year-long project recording a daily "sound action". These are multimodal entities consisting of body motion and its resultant sound. When we only see a sound action, we can imagine its sound. If we only hear a sound action, we can imagine the body motion and objects involved in the interaction. Sound actions are ubiquitous in everyday life yet rarely discussed and reflected upon. My attempts at analyzing sound actions show some of the complexity involved in making sense of actions, reactions, and interactions with the world. This complexity can also inspire creative usage. I will present examples of meaningless and cognitively conflicting sound actions in the talk.

• Alexander Refsum Jensenius (2022). From ideas to reality: interdisciplinary collaborations. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2022). NOR-CAM - en introduksjon. Fulltekst i vitenarkiv Vis sammendrag

  A working group appointed by Universities Norway (UHR) was mandated to recommend guiding principles for the assessment and evaluation of research(ers) in light of the transition to Open Science. This working group proposed a more flexible and holistic framework for recognition and rewards in academic research assessment. The ambition has been to develop a guide that adopts three core principles for assessment: more transparency, greater breadth, and comprehensive assessments as opposed to the one-sided use of indicators.

• Alexander Refsum Jensenius & Ragnhild Lome (2022). Mer mangfold innenfor humaniora? [Journal]. Forskningspolitikk. Fulltekst i vitenarkiv Vis sammendrag

  En ny kunnskapspolitisk prosess er i gang, om hvordan akademiske karrierer skal vurderes. Hvordan påvirker det humaniora i Norge? 

• Finn-Eirik Johansen, Alexander Refsum Jensenius, Helga Flesche Kleiven, Gunnar Sivertsen, Katerini Storeng & Ragnar Lie [Vis alle 9 forfattere av denne artikkelen] (2021). Veileder for vurdering i akademiske karriereløp: NOR-CAM, en verktøykasse. doi: 10.5281/zenodo.19630012. Fulltekst i vitenarkiv Vis sammendrag

  NOR-CAM er et rammeverk for vurdering i akademiske karriereløp, utarbeidet av en arbeidsgruppe nedsatt av Universitets- og høgskolerådet. Veilederen flytter vekten fra smale publiseringsmål til en bredere vurdering som også omfatter undervisning, ledelse, innovasjon og samfunnsbidrag, ved siden av forskningen og forskningsprosessen. Rammeverket er ikke et fast system, men en verktøykasse hver institusjon kan tilpasse.

• Finn-Eirik Johansen, Alexander Refsum Jensenius, Helga Flesche Kleiven, Gunnar Sivertsen, Katerini Storeng & Ragnar Lie [Vis alle 8 forfattere av denne artikkelen] (2021). NOR-CAM: A toolbox for recognition and rewards in academic careers. doi: 10.5281/zenodo.19629430. Fulltekst i vitenarkiv Vis sammendrag

  NOR-CAM, developed by a working group commissioned by Universities Norway, is a framework for reforming how academic careers are assessed. It promotes a shift away from narrow publication metrics towards a broader and more balanced evaluation, including teaching, leadership, innovation and societal impact alongside research and the research process. Rather than a fixed system it is a flexible toolbox, to be adapted by each institution.

• Cagri Erdem, Qichao Lan & Alexander Refsum Jensenius (2021). Multimodal Electric Guitar Data. doi: 10.5281/zenodo.6470236. Fulltekst i vitenarkiv Vis sammendrag

  A dataset of thirty-six student and semiprofessional electric guitarists performing a set of basic sound-producing actions as well as free improvisations. The multimodal dataset consists of EMG and motion capture data; additionally, video and sound recordings of each performer were made.

• Laura Bishop, Alexander Refsum Jensenius & Bruno Laeng (2021). Quartet Body Motion and Pupillometry Dataset. doi: 10.5281/zenodo.4888176. Fulltekst i vitenarkiv Vis sammendrag

  This dataset contains performance data collected during an experiment with a string quartet, and listening data collected during a follow-up experiment using recordings from the performance experiment. Performance data were collected in December 2019 as part of an experiment on how communicative body motion is affected by the presence of an audience and manipulations of visual contact between musicians. The experiment also investigated how different performance demands affect musicians' mental effort. A string quartet comprising advanced music students played pieces from their repertoire in rehearsal and concert conditions.

• Dana Swarbrick, Finn Upham, Cagri Erdem, Kayla Burnim & Alexander Refsum Jensenius (2021). The MusicLab App – Exploring the usage of mobile accelerometry to measure audience movement and respiration. Fulltekst i vitenarkiv
• Jakob Arvola & Alexander Refsum Jensenius (2021). Kunstig intelligens komponerer Beethoven. [Radio]. NRK P2. Fulltekst i vitenarkiv Vis sammendrag

  Før Ludwig van Beethoven døde i 1827, begynte han å arbeide på en symfoni nummer 10. Den ble aldri ferdig, men nå, nesten 200 år etter, har musikken blitt fullført ved hjelp av kunstig intelligens.

• Pritty Patel-Grosz, Jonah Katz, Patrick Georg Grosz, Tejaswinee Kelkar & Alexander Refsum Jensenius (2021). From music to dance: the inheritance of semantic inferences. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Stefano Fasciani (2021). University of Oslo - RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion. Proceedings of the SMC Conferences. 2021-, s. xxix–xxix. Fulltekst i vitenarkiv
• Dana Swarbrick, Finn Upham, Cagri Erdem, Kayla Burnim & Alexander Refsum Jensenius (2021). MusicLab Algorave – An exploratory study examining the usage of mobile accelerometry to measure movements of a virtual concert audience. Fulltekst i vitenarkiv
• Ingrid Funderud, Anne Danielsen, Tor Endestad, Alexander Refsum Jensenius, Sabine Liliana Leske & Anne-Kristin Solbakk (2021). Improving working memory in patents with epilepsy by rhythmic sounds. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2021). Open Research as Communication Strategy. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2021). Hvorfor leder åpenhet til bedre forskning? Fulltekst i vitenarkiv
• Toril Carlsen, Anna Elisabet Einarsson, Alexander Refsum Jensenius & Kristin Norderval (2021). Contemporary Vocal Arts Training: Renewing the opera form through new pedagogical practices that expand the role of the singer. Fulltekst i vitenarkiv Vis sammendrag

  Avdeling Operahøgskolen ønsker å arrangere en tredagers konferanse på KHiO 27.-29. august 2021, med fokus på operapedagogikk og moderne stemmebruk. Målet med konferansen er å undersøke den pedagogiske praksisen som trengs for å trene operasangere mot dagens krav til nye operaproduksjoner og utvide den kreative rolle til oeprasangere. Improvisasjon, samarbeid og bruk av teknologi for å fosnye opera som kunstform vil være sentrale emner. UiO/ RITMO og foreningen VOXLAB står som samarbeidspartnere.

• Ariadne Loinsworth Jenssen, Lars Monstad & Alexander Refsum Jensenius (2021). Kunstig intelligens lager musikk for ARY. [Internet]. Forskningsdagene. Fulltekst i vitenarkiv Vis sammendrag

  Mange holder fast ved at kunstneriske utrykk aldri kan bli erstattet av datamaskiner og algoritmer. Men stemmer det? Hvor god er egentlig kunstig intelligens til å lage musikk?

• Alexander Refsum Jensenius (2021). Visibility for researchers on university web pages. Fulltekst i vitenarkiv Vis sammendrag

  Academics need to be visible online. If you don’t publish and disseminate your research, it won’t have an impact. So it is in our own interest to have up-to-date personal pages with information about what we do. I would argue that it is also in the interest of universities that their employee’s personal pages are up-to-date and look good.

• Ariadne Loinsworth Jenssen, Lars Monstad, Sofia Gonzalez Munoz, Stefano Fasciani & Alexander Refsum Jensenius (2021). Kan kunstig intelligens erstatte en artist? Fulltekst i vitenarkiv Vis sammendrag

  Årets tema for Forskningsdagene handler om fred og konflikt, og en pågående kamp er menneskene mot maskinen. Jobber har jo allerede blitt erstattet av roboter, betyr det at våre favorittartister nå står for tur?

• Raul Masu, Adam Pultz Melbye, John Sullivan & Alexander Refsum Jensenius (2021). NIME and the Environment: Toward a More Sustainable NIME Practice. Fulltekst i vitenarkiv Vis sammendrag

  This paper addresses environmental issues around NIME research and practice. We discuss the formulation of an environmental statement for the conference as well as the initiation of a NIME Eco Wiki containing information on environmental concerns related to the creation of new musical instruments. We outline a number of these concerns and, by systematically reviewing the proceedings of all previous NIME conferences, identify a general lack of reflection on the environmental impact of the research undertaken. Finally, we propose a framework for addressing the making, testing, using, and disposal of NIMEs in the hope that sustainability may become a central concern to researchers.

• Alexander Refsum Jensenius & Hege Holm (2021). Hva får oss ut på dansegulvet? [Radio]. NRK P1. Fulltekst i vitenarkiv Vis sammendrag

  Hva får oss ut på dansegulvet? Det er forsket på hva som skal til for at vi beveger oss til musikk. Det er helt spesielle rytmer som får kroppen vår til å bevege seg, enten vi vil eller ei. Professor med bakgrunn både fra musikk, fysikk og matematikk forklarer.

• Alexander Refsum Jensenius (2021). Technology on the opera stage. Fulltekst i vitenarkiv
• Lars Monstad & Alexander Refsum Jensenius (2021). Kan kunstig intelligens erstatte artisten ARY? [Internet]. Kreativt forum. Fulltekst i vitenarkiv Vis sammendrag

  Kan kunstig intelligens lage låter for artistene våre? Forskningsrådet ville se hvor bra musikk kunstig intelligens kan lage, og fikk Ary med på et eksperiment.

• Alexander Refsum Jensenius (2021). Hva er egentlig et musikkinstrument? Fulltekst i vitenarkiv Vis sammendrag

  Et piano er et instrument. Og en fiolin. Men hva med stemmen? Eller en gaffel? Eller en mobiltelefon? Forelesningen vil diskutere gamle og nye musikkinstrumenter og hvordan ny teknologi er med på å endre måten vi lager og opplever musikk.

• Stefano Fasciani & Alexander Refsum Jensenius (2021). Sound and Music Computing at the University of Oslo. Fulltekst i vitenarkiv Vis sammendrag

  A presentation of labs and studios at the Department of Musicology and RITMO Centre for Interdisciplinary Studies in Rhythm, Time, and Motion at the University of Oslo.

• Alexander Refsum Jensenius (2021). Åpen Forskningspraksis – i praksis? Fulltekst i vitenarkiv Vis sammendrag

  Vi er på vei inn i et nytt paradigme der åpenhet vil være en naturlig del av hvordan vi forsker. Åpenhet forventes i økende grad gjennom hele forskningsprosessen fra hvordan forskningen planlegges og gjennomføres, til hvordan data og resultater lagres og deles og til hvordan vi samarbeider, forskere imellom og med resten av samfunnet. Åpenhet påvirker forskere, forskningsinstitusjonene, finansiører og de som bruke forskningen. Målet med konferansen var å stoppe opp og diskutere hvordan de ulike prosessene i arbeidet mot åpen forskning virker (eller ikke virker) sammen. Hvordan ser dette ut fra forskernes ståsted og hvordan henger politikken sammen med praksis? Er de ulike delene av sektoren rigget for endringene som er på vei og hvordan er den overordnede politikken, nasjonalt og internasjonalt koblet til endringer i forskernes hverdag?

• Alexander Refsum Jensenius & Solveig Isis Sørbø (2021). Lyd, stillhet, bevegelse og stillstand. [Radio]. Radiorakel. Fulltekst i vitenarkiv Vis sammendrag

  Solveigs Speisa Musikk

• Alexander Refsum Jensenius & Knut Anders Finnset (2021). Uenighet om UiOs nettsider: - Advarer kolleger mot å bruke dem. [Journal]. Uniforum. Fulltekst i vitenarkiv Vis sammendrag

  Nettsidene til UiO har blitt for store i omfang og må ryddes opp i. Forskere frykter at aktiviteter skal forsvinne for alltid, men UiO lover å ikke slette innhold uten godkjenning fra instituttene.

• Finn Upham, Agata Zelechowska, Victor Gonzalez & Alexander Refsum Jensenius (2021). Quiet Breathing to Heard Music. Fulltekst i vitenarkiv
• Agata Zelechowska, Victor Gonzalez & Alexander Refsum Jensenius (2021). Championship of Standstill: A paradigm to study involuntary responses to music with the use of motion capture. Fulltekst i vitenarkiv
• Qichao Lan & Alexander Refsum Jensenius (2021). Glicol: A Graph-oriented Live Coding Language Developed with Rust, WebAssembly and AudioWorklet. Fulltekst i vitenarkiv
• Qichao Lan & Alexander Refsum Jensenius (2021). Collaborative Live Coding with Glicol Music Programming Language. Fulltekst i vitenarkiv
• Dongho Kwak, Anne Danielsen & Alexander Refsum Jensenius (2021). Music for cells: The human body as a rhythm machine. Fulltekst i vitenarkiv
• Raul Masu, Adam Pultz Melbye, John Sullivan & Alexander Refsum Jensenius (2021). NIME Eco Wiki: A Crash Course. Fulltekst i vitenarkiv Vis sammendrag

  In this workshop, hosted by the three NIME environmental officers, participants will be introduced to the NIME Eco Wiki, a repository for addressing environmental and sustainability issues within the NIME community. During the workshop, the participants will discuss how practices on the communal as well as the individual level may become more sustainable and they will create new additions and ideas for the Wiki.

• Alexander Refsum Jensenius (2021). The experience of time and space in human standstill. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2021). NOR-CAM - A framework for recognition and rewards in academic careers. Fulltekst i vitenarkiv Vis sammendrag

  A working group appointed by Universities Norway (UHR) was mandated to recommend guiding principles for the assessment and evaluation of research(ers) in light of the transition to Open Science. This working group proposes a more flexible and holistic framework for recognition and rewards in academic research assessment. The ambition has been to develop a guide that adopts three core principles for assessment: more transparency, greater breadth, and comprehensive assessments as opposed to one-sided use of indicators.

• Alexander Refsum Jensenius (2021). NOR-CAM - En veileder for vurdering i akademiske karriereløp. Fulltekst i vitenarkiv Vis sammendrag

  UHRs arbeidsgruppe for åpen evaluering har siden 2019 jobbet med en veileder for vurdering i akademiske karriereløp. Veilederen er nå ferdig, og arbeidsgruppen foreslår et mer fleksibelt og helhetlig rammeverk for arbeidet med vurdering i akademiske karriereløp. Ambisjonen har vært å utvikle en veileder der mer åpenhet, større bredde i vurderingene, og med helhetlige vurderinger som motsats til ensidig bruk av indikatorer står sentralt.

• Seyed Mojtaba Karbasi, Rolf Inge Godøy, Alexander Refsum Jensenius & Jim Tørresen (2021). A Learning Method for Stiffness Control of a Drum Robot for Rebounding Double Strokes. Fulltekst i vitenarkiv Vis sammendrag

  In robot drumming, performing double stroke rolls is a key ability. Human drummers learn to play double strokes by just trying it several times. For performing it, a model needs to be learned to provide anticipatory commands during drumming. Joint stiffness plays a key role in rebounding double stroke task and should be considered in the model. We have introduced an interactive learning method for a drum robot to learn joint stiffness for rebounding double stroke task. The model is simulated for a 2-DoF robotic arm. The algorithm is simulated with 3 different drum kits to show the robustness of the learning approach. The simulation results also show significant compatibility with human performance results. In addition, the refined learning algorithm adjusts the stroke timing which is important for producing proper rhythms.

• Alexander Refsum Jensenius (2021). Hvordan bygge og videreutvikle en internasjonal, interdisiplinær forskningsgruppe? Fulltekst i vitenarkiv
• Laura Bishop, Victor Evaristo Gonzalez Sanchez, Bruno Laeng, Alexander Refsum Jensenius & Simon Høffding (2021). Social context affects head motion and gaze in string quartet rehearsal and concert performance. Fulltekst i vitenarkiv
• Balint Laczko & Alexander Refsum Jensenius (2021). Reflections on the Development of the Musical Gestures Toolbox for Python. Fulltekst i vitenarkiv Vis sammendrag

  The paper presents the Musical Gestures Toolbox (MGT) for Python, a collection of modules targeted at researchers working with video recordings. The toolbox includes video visualization techniques such as creating motion videos, motion history images, and motiongrams. These visualizations allow for studying video recordings from different temporal and spatial perspectives. The toolbox also includes basic computer vision methods, and it is designed to integrate well with audio analysis toolboxes. The MGT was initially developed to analyze music-related body motion (of musicians, dancers, and perceivers) but is equally helpful for other disciplines working with video recordings of humans, such as linguistics, pedagogy, psychology, and medicine.

• Mari Rian Hanger & Alexander Refsum Jensenius (2021). Tror unge forskere kan fristes til å velge tidsskrift i gråsonen. [Internet]. Universitetsavisa. Fulltekst i vitenarkiv Vis sammendrag

  Kravet om å publisere mange artikler kan skape grobunn for røvertidsskriftene. – Det hadde vært bedre med færre og bedre publikasjoner, mener Pål Romundstad.

• Alexander Refsum Jensenius, Anne Danielsen & Peter Edwards (2020). Vi trenger kort og godt mer automagi i Cristin. Fulltekst i vitenarkiv Vis sammendrag

  Forskerne bruker utallige arbeidstimer på å legge inn informasjonen. Det er på tide å få den ut igjen! skriver UiO-forskerne Alexander Refsum Jensenius, Anne Danielsen og Peter Edwards.

• Agata Zelechowska, Victor Evaristo Gonzalez Sanchez & Alexander Refsum Jensenius (2020). Standstill to the ‘beat’: Differences in involuntary movement responses to simple and complex rhythms. Fulltekst i vitenarkiv Vis sammendrag

  Previous studies have shown that movement-inducing properties of music largely depend on the rhythmic complexity of the stimuli. However, little is known about how simple isochronous beat patterns differ from more complex rhythmic structures in their effect on body movement. In this paper we study spontaneous movement of 98 participants instructed to stand as still as possible for 7 minutes while listening to silence and randomised sound excerpts: isochronous drumbeats and complex drum patterns, each at three different tempi (90, 120, 140 BPM). The participants’ head movement was recorded with an optical motion capture system.We found that on average participants moved more during the sound stimuli than in silence, which confirms the results from our previous studies. Moreover, the stimulus with complex drum patterns elicited more movement when compared to the isochronous drum beats. Across different tempi, the participants moved most at 120 BPM for the average of both types of stimuli. For the isochronous drumbeats, however, their movement was highest at 140 BPM. These results can contribute to our understanding of the interplay between rhythmic complexity, tempo and music-induced movement.

• Alexander Refsum Jensenius & Christian Ingebrethsen (2020). Kan en datamaskin lage den neste megahiten? [Radio]. NRK P2. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2020). Hvordan bruke video som ressurs i digital undervisning? Fulltekst i vitenarkiv Vis sammendrag

  Bli med og snakk om hvordan vi legger om vår undervisning i disse dager, denne gang med fokus på video. LINK og undervisere ved UiO vil bidra med faglige innlegg, etterfulgt av åpen erfaringsdeling og spørsmål & svar.

• Alexander Refsum Jensenius & Christian Ingebrethsen (2020). Musikk laget av kunstig intelligens. [TV]. NRK Dagsrevyen. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Christian Ingebrethsen (2020). Musikk laget av algoritmer utfordrer musikkbransjen: – Det er klart vi er bekymret. [Internet]. NRK.no. Fulltekst i vitenarkiv Vis sammendrag

  Frank Sinatra har kommet med en ny sang 22 år etter sin død. Eller, har han egentlig det?

• Alexander Refsum Jensenius & Christian Ingebrethsen (2020). Nesten umulig å stå i ro til musikk. [Radio]. NRK P2. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Christian Ingebrethsen (2020). Hvor vanskelig er det egentlig å la være å bevege seg til fengende musikk? [TV]. NRK Dagsrevyen. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Christian Ingebrethsen (2020). Klarer du å stå stille til favorittlåta di? [Internet]. NRK.no. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Christian Ingebrethsen (2020). Forskning om danselyst. [Radio]. NRK P2. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Mari Lilleslåtten (2020). You just can’t stand still. [Internet]. HF-aktuelt. Fulltekst i vitenarkiv Vis sammendrag

  Not moving to dance music is near impossible, according to new research.

• Alexander Refsum Jensenius & Mari Lilleslåtten (2020). Du klarer faktisk ikke å stå stille. [Internet]. HF-aktuelt. Fulltekst i vitenarkiv Vis sammendrag

  Å ikke bevege seg til dansemusikk, er så godt som umulig, viser ny forskning.

• Alexander Refsum Jensenius & Njord Vegard Svendsen (2020). Meiner forskarar må ha rett til å «klippe og lime» frå publiserte artiklar. [Journal]. Khrono. Fulltekst i vitenarkiv Vis sammendrag

  - Vi må komme bort frå tanken om at ein publisert forskingsartikkel er ein digital versjon av ein papirartikkel, meiner musikkforskar Alexander Refsum Jensenius.

• Alexander Refsum Jensenius & Bård Andersson (2020). Umulig å stå stille til musikk. [Journal]. KulturPlot. Fulltekst i vitenarkiv Vis sammendrag

  Nå er det bevist: Det finnes en indre danseløve i oss alle. Ny forskning viser dessuten at den musikken som ikke får det til å rykke i dansefoten er norsk.

• Alexander Refsum Jensenius & Anne Danielsen (2020). UiOs nettsider er en viktig forskningsinfrastruktur. Fulltekst i vitenarkiv Vis sammendrag

  Det er underlig at UiO så aktivt går inn for å slette tilgjengelig informasjon om vår egen kultur og historie. Vi er enig i at det er behov for å rydde opp i nettsidene, men mener at fokuset bør ligge på rydding og kvalitetssikring fremfor sletting, skriver Alexander Refsum Jensenius og Anne Danielsen i RITMO.

• Laura Bishop & Alexander Refsum Jensenius (2020). Reliability of two infrared motion capture systems in a music performance setting. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes a comparative analysis of tracking quality in two infrared marker-based motion capture systems: one older but high-end (Qualisys, purchased in 2009) and the other newer and mid-range (OptiTrack, purchased in 2019). We recorded performances by a string quartet with both systems simultaneously, using the same frame rate. Our recording set-up included a combination of moving markers (affixed to musicians’ bodies) and stationary markers (affixed to music stands). Higher noise levels were observed in Qualisys recordings of stationary markers than in OptiTrack recordings, as well as a greater spatial range, though OptiTrack recordings had a higher rate of outliers (“spikes” in the signal). In moving markers, increased quantity of motion was associated with increased between-system error rates. Both systems showed minimal within-trial drift but a reduction in recording accuracy and precision over the duration of the experiment. Overall, our results show that the older/high-end system (Qualisys) produced slightly lower-quality recordings than the newer/mid-range system (OptiTrack). We discuss how our findings may inform researchers’ interpretations of motion capture data, particularly when capturing the types of motion that are important for performing music.

• Alexander Refsum Jensenius (2020). Hvorfor er åpen forskning bedre forskning? Fulltekst i vitenarkiv
• Stefano Fasciani, Alexander Refsum Jensenius, Robin Støckert & Anna Xambó (2020). The MCT Portal: an infrastructure, a laboratory and a pedagogical tool. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2020). Some Challenges of Citizen Science for Universities. Fulltekst i vitenarkiv Vis sammendrag

  The potential of Citizen Science is high on the agenda in the discussion on the future of academic research. The European Commission’s Communication “A new ERA for Research and Innovation”, published in September 2020, states that “[...] the engagement of citizens, local communities and civil society will [help] achieve greater social impact and increased trust in science.” Citizens can contribute in diverse ways, ranging from data collection over data analysis to co-designing projects, and thereby bring academic research and its outcomes closer to society. However, Citizen Science also accentuates ethical and legal questions about ownership of the research process and outcomes, and poses challenges in terms of safeguarding research quality. Addressing these challenges and using the opportunities of Citizen Science will require universities to take the lead and consider the place of Citizen Science within their institutional strategies, as well as the support they offer to research staff. Engaging in inclusive and transparent science, Citizen Science and Open Science are becoming increasingly intertwined. Currently, Citizen Science is described by the European Commission as “both an aim and enabler of Open Science”. This joint workshop will discuss themes around institutional support for Citizen Science and offers an opportunity to transfer and share knowledge. The aim is to exchange experiences, lessons learnt, and explore common challenges. To support Citizen Science, the online workshop will discuss tools, guidelines and good practices from Open Science experiences as well. Participating universities will have the opportunity to share expertise, coordinate efforts and exchange advice on services, tools and legal and ethical issues.

• Alexander Refsum Jensenius & Njord Vegard Svendsen (2020). Spelelystene. [Journal]. Khrono. Fulltekst i vitenarkiv Vis sammendrag

  For somme er ein arbeidsdag utan musikk utenkeleg.

• Alexander Refsum Jensenius (2020). Video Visualization Strategies at RITMO. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius, Anne Danielsen & Peter Edwards (2020). Vi trenger kort og godt mer automagi i Cristin. Fulltekst i vitenarkiv Vis sammendrag

  Forskerne bruker utallige arbeidstimer på å legge inn informasjonen. Det er på tide å få den ut igjen.

• Robin Støckert, Andreas Bergsland, Stefano Fasciani & Alexander Refsum Jensenius (2020). Student active learning in a two campus organisation. Fulltekst i vitenarkiv Vis sammendrag

  Higher education is facing disruptive changes in many fields. Students wants to have the option of learning anywhere, anytime and in any format. Universities need to develop and deliver to future students a complete learning ecosystem. At the same time universities are facing challenges such as growing costs and the pressure to give the students the knowledge, competence, skills and ability to continuously adapt to future job environments. As a consequence, many universities are investigating new ways of collaboration and sharing resources to cater to the demands of students, industry and society. An example of this collaboration is a new joint master between the two largest Universities in Norway: University of Oslo (UiO) and Norwegian University of Science and Technology (NTNU). In this paper, we present the lessons learned from almost two years of teaching and learning in the new joint master's programme, "Music, Communication and Technology" (MCT), between NTNU and UiO. This programme is a run in a two-campus learning space built as a two-way, audio-visual, high-quality, low-latency communication channel between the two campuses, called "The Portal". Moreover, MCT is the subject of research for the SALTO (Student Active Learning in a Two campus Organisation) project, where novel techniques in teaching and learning are explored, such as team-based learning (TBL), flipped classroom, and other forms of student active learning. Educational elements in this master, provides the student with 21st century skills and deliver knowledge within humanities, entrepreneurship and technology. We elaborate on the technical, pedagogical and learning space-related challenges toward delivering teaching and learning in these cross-university settings. The paper concludes with a set of strategies that can be used to improve student active learning in different scenarios.

• Ximena Alarcón Diaz, Paul Boddie, Cagri Erdem, Eigil Aandhal, Eirik Dhal & Elias Sukken Andersen [Vis alle 8 forfattere av denne artikkelen] (2019). INTIMAL software. doi: 10.5281/zenodo.3522601. Fulltekst i vitenarkiv Vis sammendrag

  INTIMAL is a physical-virtual "embodied" system for relational listening, to be used within the practice of networked and telematic sonic performance. INTIMAL explores sense of place and sense of presence in the context of human migration. INTIMAL has released two modules in GitHub: MEMENTO, a co-located, and "embodied" navigation system of an oral archive with Colombian women's testimonies of conflict and migration; RESPIRO, a live, telematic transmission of breathing signals, which are locally sonified in each location.

• Alexander Refsum Jensenius & Paul Arvid Jørgensen (2019). Kulturstripa: Musikken som beveger. [Radio]. NRK P2. Fulltekst i vitenarkiv Vis sammendrag

  Er du av typen som berre må danse når du høyrer ein viss type musikk? Paul Arvid Jørgensen har møtt ein forskar som ser på om vi menneske er fødd med dansefot, og om ein type musikk fører til meir rørsle enn en annan.

• Alexander Refsum Jensenius (2019). Sound actions: An embodied approach to a digital organology. Fulltekst i vitenarkiv Vis sammendrag

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.

• Alexander Refsum Jensenius (2019). Lecture-demo: Music-Related Micromotion. Fulltekst i vitenarkiv Vis sammendrag

  This presentation will summarize findings from my research into music-related micromotion. This includes the smallest human motion that we can perform and perceive, typically measured at at a scale of millimeters. We have carried out a series of studies of such micromotion, in which people have been asked to try to stand still on the floor, both in silence and with (musical) sound. By measuring their bodily responses with different types of motion tracking and physiological devices we find a number of similarities between people's quantity and quality of motion. This has been the starting point for exploring the use of micromotion in musical practice, what I call 'sonic microinteraction'. This includes standstill performances with interactive sound and light. It also includes several installations with our ensemble of self-playing guitars. These are hybrid instruments, using digital sound-production through acoustically resonating guitars. They are controlled through inverse microinteraction, meaning that you need to focus on standing still to produce any sound. This challenges our traditional understanding of the affordance of musical instruments, and opens for both artistically and scientifically interesting perspectives.

• Alexander Refsum Jensenius & Silvija Seres (2019). Ekspørt: Alexander Refsum Jensenius. [Radio]. LØRN Podcast. Fulltekst i vitenarkiv Vis sammendrag

  Hva kan vi finne når vi analyserer folks dansebevegelser? Og hva er selvspillende gitarer? I denne episoden av #LØRN snakker Silvija med førsteamanuensis ved Institutt for musikkvitenskap ved Universitetet i Oslo, Alexander Refsum Jensenius, om NM i stillstand og kunst og teknologi. — Vi tror at det er noen dypt forankrede systemer som gjør at bevegelse og musikk er koblet sammen i hjernen vår. Så lyd og bevegelse har ikke skiller, forteller han.

• Alexander Refsum Jensenius (2019). Sound actions: An embodied approach to a digital organology. Fulltekst i vitenarkiv Vis sammendrag

  What is an instrument in our increasingly electrified world? In this talk I will present a set of theoretical building blocks from my forthcoming book on "musicking in an electronic world". At the core of the argument is the observation that the introduction of new music technologies has led to an increased separation between action and sound in musical performance. This has happened gradually, with pianos and organs being important early examples of instruments that introduced mechanical components between the performer and resonating objects. Today's network-based instruments represent an extreme case of a spatiotemporal dislocation between action and sound. They challenge our ideas of what an instrument can be, who can perform on them, and how they should be analyzed. In the lecture I will explain how we can use the concepts of action-sound couplings and mappings to structure our thinking about such instruments. This will be used at the heart of a new organology that embraces the qualities of both acoustic and electroacoustic instruments.

• Ximena Alarcón Diaz & Alexander Refsum Jensenius (2019). "Ellos no están entendiendo nada" ("They are not understanding anything"): Listening to Embodied Memories of Colombian Migrant Women Reflecting on Conflict and Migration. Fulltekst i vitenarkiv Vis sammendrag

  Exploring the role of the body as an interface that keeps memory of place, INTIMAL physical-virtual “embodied” system, integrates body movement, voice, and an oral archive, as an artistic platform for relational listening (Alarcón, 2019), using networking technologies for telematic sonic improvisatory performances, in the context of geographical migration. INTIMAL has been informed by a case study with nine Colombian migrant women in Europe, listening to their migrations, and to an oral archive with testimonies of conflict and migration by other Colombian migrant women.1 The first two interfaces created for the system: MEMENTO (a spoken word retrieval system), and RESPIRO (for transmission and sonification of breathing data), have been tested by the research participants in a telematic sonic improvisatory public improvisatory performance between the cities of Oslo, Barcelona, and London. In the performance, proposed as a shared dream, a “complex narrative” (Grishakova & Poulaki, 2019) emerged, for both the improvisers and the audiences. In this paper, we describe the conditions of the narrative environment, and the embodied expressions that emerged—including body movement, voice, spoken word, and breathing—establishing connections between gendered migration, and Colombian conflict. We reflect on how distributed improvisatory embodied expression, and relational listening through technological mediations, aids the process of collective remembering (Wertsch, 2001), in a complex context of conflict and migration.

• Robin Støckert, Alexander Refsum Jensenius, Anna Xambo Sedo & Øyvind Brandtsegg (2019). A case study in learning spaces for physical-virtual two-campus interaction. Fulltekst i vitenarkiv Vis sammendrag

  Norwegian University of Science and Technology (NTNU) Teaching Excellence is an integrated and wide-ranging initiative aimed at helping NTNU to achieve its goal to providing education characterized by quality at a high international level. The initiative consists of a portfolio of development measures, with the purpose to develop innovative approaches to learning, teaching and assessment. SALTO (Student Active Learning in a Two campus Organization) is one of the development projects founded for the period 2018-2020. The project is based on a study where the students are divided into two campuses. The aim is to develop effective pedagogy with activity at both campuses at the same time, with particular emphasis on interaction, resource sharing and communication/collaboration. The project aims to allow students and teachers to explore educational, methodological, and technological solutions together. A new joint master's program in "Music, Communication and Technology" (MCT) between NTNU and University in Oslo (UiO), constitutes the framework for the SALTO project. The common pedagogy, technology and shared learning space between the two Universities, is hereafter defined as the Portal. SALTO will utilize the MCT Portal as an arena/living lab to evolve and optimize student active learning scenarios. In this paper, we elaborate on the issues, challenges and potential with three different scenarios, which emerged during the first 6 months of the project: (1) The Opening Ceremony between NTNU and UiO, with a combo of talks and performance. (2) A live Christmas concert connecting two high schools 500 km apart (Trondheim-Oslo). (3) An intense cross-university course with a combo of preparations, lectures and hands-on exercises.

• Alexander Refsum Jensenius (2019). Technology and the voice. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2019). Exploring the Spatiotemporal Matrix in Music-Dance Performance. Fulltekst i vitenarkiv Vis sammendrag

  I will present the spatiotemporal matrix, a system for categorizing human actions into different spatial and temporal levels: micro, meso, macro. Most regular human actions would be categorized as meso-meso, that is, medium-sized motion within a timespan that fits our short-term memory. Exploring combinations of micro and macro levels in both space and time is challenging, but is also conceptually, practically and artistically interesting. I will show an example of this from the music-dance performance Sverm, and explain how the matrix was informed by my research into the effect of music on the micromotion observed when people try to stand still.

• Alexander Refsum Jensenius (2019). Hvordan fremme tverrfaglighet? Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2019). Hva kan kroppslig stillstand si om opplevelsen av musikk? Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Erik Lieungh (2019). #26 Music Research. [Radio]. Open Science Talk. Fulltekst i vitenarkiv Vis sammendrag

  In this episode, we talk about Music Research, and how it is to practice open research within this field. Our guest is Alexander Jensenius, Associate Professor at the Department of Musicology - Centre for Interdisciplinary Studies in Rhythm, Time and Motion (IMV) at the University of Oslo. He is also behind MusicLAb, an event-based project where data is collected, during a musical performance, and analyzed on the fly.

• Alexander Refsum Jensenius (2019). Towards Convergence in Research Assessment. s. 14–14. Fulltekst i vitenarkiv Vis sammendrag

  Open Science is on everyone’s lips these days. There are many reasons why this shift is necessary and wanted, and also several hurdles. One big challenge is the lack of incentives and rewards. Underlying this is the question of what we want to incentivize and reward, which ultimately boils down to the way we assess research and researchers. This is not a small thing. After all, we are talking about the cornerstone of people’s careers, whether an inspiring academic gets a job, promotion, and project funding.

• Alexander Refsum Jensenius (2019). Reflections from a Carpentries Train the Trainer Workshop. [Journal]. Carpentries.org. Fulltekst i vitenarkiv Vis sammendrag

  In this post, Alexander Refsum Jensenius shares thoughts and takeaways from a recent Train the Trainer Workshop

• Alexander Refsum Jensenius (2019). Dagens system tar ikke høyde for at folk skal kunne ta kurs på 0,2 studiepoeng. Men hvorfor ikke? Fulltekst i vitenarkiv Vis sammendrag

  Vi må legge til rette for mye raskere, enklere, og smidigere prosesser for å registrere, insentivere og belønne ulike former for mikroutdanning, skriver førsteamenuensis ved Universitetet i Oslo, Alexander Refsum Jensenius.

• Alexander Refsum Jensenius (2019). Musikkteknologi som døråpner til bedre forståelse. Fulltekst i vitenarkiv Vis sammendrag

  I seminaret vil du få presentert eksempler på hvordan musikkteknologi kan brukes i undervisning, både i små og store grupper. Både akustisk og elektronisk musikkteknologi fungerer godt for å forklare prinsipper også utenfor regulær musikkundervisning. I dette seminaret får du vite hvordan matematikk kan forklares med små synthesizere, fysikk med strengeinstrumenter og kroppskontroll med interaktiv musikk. Dette er prinsipper som kan tas i bruk med enkle virkemidler. Seminaret vil kunne være relevant for deg som ønsker tips til alternative tilnærminger overfor elever som strever med læring.

• Alexander Refsum Jensenius (2019). Music Technology Developments at University of Oslo. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2019). Experimenting with Open Research Experiments. Fulltekst i vitenarkiv Vis sammendrag

  Is it possible to do experimental music research completely openly? And what can we gain by opening up the research process from beginning to end? In the talk I will present MusicLab, an open research project at the University of Oslo. The aim is to explore new methods for conducting research, research communication, and education. Each MusicLab event is organized around a public music performance, during which we collect data from both musicians and audience members. Here we explore different types of sensing systems that work in real-world contexts, such as breathing, heartbeat, muscle tension, or motion. The events also contain an edutainment element through panel discussions as well as "data jockeying" in the form of live data analysis. The collected data is made publicly available, and forms the basis for further analysis and publications after the event. Opening up the research process is conceptually, practically, and technologically challenging for everyone involved. The benefit is that it has helped us solve a number of issues when it comes to GDPR and copyright. It has also pushed our research in directions that we previously had never thought about, and helped us communicate this to new users.

• Anna Xambo Sedo, Robin Støckert, Alexander Refsum Jensenius & Sigurd Saue (2019). Facilitating Team-Based Programming Learning with Web Audio. Fulltekst i vitenarkiv Vis sammendrag

  In this paper, we present a course of audio programming using web audio technologies addressed to an interdisciplinary group of master students who are mostly beginners in programming. This course is held in two connected university campuses through a portal space and the students are expected to work in cross-campus teams. The workshop promotes both individual and group work and is based on ideas from science, technology, engineering, arts and mathematics (STEAM), team-based learning and project-based learning. We show the outcomes of this course, discuss the students’ feedback and reflect on the results. We found that it is important to provide individual vs. group work, to use the same code editor for consistent follow-up and to be able to share the screen to solve individual questions. Other aspects inherent to the master (intensity of the courses, coding in a research-oriented program) and to prior knowledge (web technologies) should be reconsidered. We conclude with a wider reflection on the challenges and potentials of using web audio as a programming environment for beginners in STEAM and distance-learning courses.

• Qichao Lan, Erdem Cagri & Alexander Refsum Jensenius (2019). Performing with QuaverSeries Live Coding Environment. Fulltekst i vitenarkiv
• Solveig Isis Sørbø, Matthew Good & Alexander Refsum Jensenius (2019). RITMO + UB = MusicLab. Fulltekst i vitenarkiv Vis sammendrag

  MusicLab er et samarbeidsprosjekt mellom UB og RITMO og en pilot på åpen forskning ved UiO. Konseptet kombinerer live musikk, live forskning og vitenskapsformidling. Det er mye vi har fått til med MusicLab, men i slikt nybrottsarbeid støter man også på nye typer utfordringer. Hvor langt kan man trekke åpenheten?

• Qichao Lan, Jim Tørresen & Alexander Refsum Jensenius (2019). RaveForce: A Deep Reinforcement Learning Environment for Music. Fulltekst i vitenarkiv
• Artur Becker, Henrik Herrebrøden, Victor Evaristo Gonzalez Sanchez, Kristian Nymoen, Carla Maria Dal Sasso Freitas & Jim Tørresen [Vis alle 7 forfattere av denne artikkelen] (2019). Functional Data Analysis of Rowing Technique Using Motion Capture Data. Fulltekst i vitenarkiv Vis sammendrag

  We present an approach to analyzing the motion capture data ofrowers using bivariate functional principal component analysis(bfPCA). The method has been applied on data from six elite rowersrowing on an ergometer. The analyses of the upper and lower bodycoordination during the rowing cycle revealed significant differences between the rowers, even though the data was normalized toaccount for differences in body dimensions. We make an argumentfor the use of bfPCA and other functional data analysis methods forthe quantitative evaluation and description of technique in sports.

• Alexander Refsum Jensenius (2019). Ett år med MCT-programmet ved IMV. Fulltekst i vitenarkiv
• Victor Evaristo Gonzalez Sanchez, Henrik Herrebrøden, Jostein Olimstad & Alexander Refsum Jensenius (2019). Effects of acoustic pacing on the smoothness of rowing movements. Fulltekst i vitenarkiv Vis sammendrag

  The influence of acoustic stimuli and feedback in sport has been explored as means of optimizing technique, in particular during training. Interactive and adaptive acoustic systems have been evaluated for rowing, with results showing a significant increase in boat velocity. However, assessment of the effects of acoustic feedback and pacing in the technical aspects of rowing is still scarce. Previous studies on the smoothness of the stroke force profile have shown that smoothness metrics can qualitatively reflect movement coordination. In this study, we quantify and compare hand movement smoothness from rowers performing under three acoustic conditions: silence, verbal instructions, and acoustic pacing.

• Gunn Enli & Alexander Refsum Jensenius (2019). Mikroutdanninger gir nye muligheter for videreutdanning. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2019). Scientific Computing Use Case: RITMO. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2019). Developing the self-playing guitars. Fulltekst i vitenarkiv Vis sammendrag

  The AAAI project holds a final workshop showcasing instruments developed and techniques explored. The workshop also consists of a performance with new pieces for augmented guitars, violins, double basses, ukuleles, as well as six self-playing guitars.

• Alexander Refsum Jensenius (2019). The RITMO Centre at University of Oslo. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2019). Tutorial: Musical Gestures Toolbox. Fulltekst i vitenarkiv Vis sammendrag

  An intensive PhD-level training course on sound and motion analysis with experts in sound and music computing from the Nordic countries.

• Alexander Refsum Jensenius, Cagri Erdem, Agata Zelechowska, Qichao Lan, Julian Peter Fuhrer & Victor Evaristo Gonzalez Sanchez (2019). Entraining Guitars. Fulltekst i vitenarkiv
• Ximena Alarcón Diaz, Paul Boddie, Cagri Erdem, Eigil Aandahl, Elias Sukken Andersen & Eirik Dahl [Vis alle 8 forfattere av denne artikkelen] (2019). Sensing Place and Presence in an INTIMAL Long-Distance Improvisation. Fulltekst i vitenarkiv Vis sammendrag

  INTIMAL is an interactive system for relational listening, which integrates physical-virtual interfaces for people to sonically improvise between distant locations. The aim is to embrace two key aspects in the context of human migration: the sense of place and the sense of presence. This paper reflects on the use of INTIMAL in a long-distance improvisation between the cities of Oslo, Barcelona and London in May 2019. This improvisation was performed by nine Colombian migrant women, who had been involved in a research process using the Deep Listening® practice developed by Pauline Oliveros. Here we describe the performance setting and the implementation of the first two interfaces of the system: MEMENTO, an “embodied” navigator of an oral archive of Colombian women’s testimonies of conflict and migration; and RESPIRO, a sonification system that transmits and sonifies live, breathing signals between distant locations. We reflect on how the two interfaces facilitated and challenged the improvisers’ listening experiences and connections.

• Alexander Refsum Jensenius, Rodrigo Schramm, Lamberto Coccioli, Clara Mancini & Michael J. Lyons (2019). Ethics at NIME. Fulltekst i vitenarkiv Vis sammendrag

  This workshop is intended to discuss how we think about and handle research ethics at NIME conferences. A number of NIME papers involved studies on/with humans. Most of these are on volunteering adults, but there are also examples of studies with children, and with patients. We also see an interest in the community to carry out research on/with animals. NIME’s current ethical guidelines do not take these perspectives into account. The Steering Committee therefore sees the need to develop better and more up-to-date ethical guidelines for the conference. This is to create an increased awareness about the needs for ethical considerations in the community, but also as guidelines for reviewers and conference chairs. NIME is proud of being a very heterogeneous community, covering people working in a large number of different scientific disciplines, artistic practices, as well as R&D in the industry. Needless to say, this breadth of perspectives also means that it is difficult to impose the same guidelines on all studies. NIME researchers also have to abide to a number of different regulations at institutional, regional, national, continental and international levels. The workshop will consist of short introductions to some challenges faced when carrying out research on/with humans and animals, in both scientific and artistic contexts. This will be followed by group-based brainstorming and a final plenary discussion.

• Cagri Erdem, Katja Henriksen Schia & Alexander Refsum Jensenius (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius, Andrew McPherson, Anna Xambo Sedo, Dan Overholt, Guillaume Pellerin & Ivica Ico Bukvic [Vis alle 8 forfattere av denne artikkelen] (2019). Open Research Strategies and Tools in the NIME Community. Fulltekst i vitenarkiv Vis sammendrag

  This workshop is intended for discussing how we can develop more and better strategies and tools for opening up research processes and results within the NIME community. The development of more openness in research has been in progress for a fairly long time, and has recently received a lot of more political attention through the Plan S initiative, The Declaration on Research Assessment (DORA), EU's Horizon Europe, and so on. The NIME community has been positive to openness since the beginning, but still has not been able to fully explore this within the community. We call for a workshop to discuss how we can move forwards in making the NIME community (even) more open throughout all its activities.

• Cagri Erdem, Katja Henriksen Schia & Alexander Refsum Jensenius (2019). Vrengt: A Shared Body–Machine Instrument for Music–Dance Performance. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2018). Sophus Bugges Salong: Rytmer og følelser. Fulltekst i vitenarkiv Vis sammendrag

  Hvorfor opplever vi rytmer og tid slik vi gjør? "RITMO Senter for tverrfaglig forskning på rytme, tid og bevegelse" vil gi oss svaret.

• Alexander Refsum Jensenius & Silvija Seres (2018). #89: Alexander Jensenius: Slik danser du din egen musikk. [Internet]. Oslo Business Forum. Fulltekst i vitenarkiv Vis sammendrag

  Hvordan kan teknologi og musikk bli til noe veldig spennende? Og hva er unikt med måten vi beveger oss på? Dagens podkastgjest er førsteamanuensis i musikkteknologi, Alexander Jensenius. I episode #89 av podkastserien ‘De som bygger det nye Norge med Silvija Seres’ snakker Jensenius om hvordan tverrfaglighet mellom uvanlige fag og disipliner åpne nye måter å tenke på. Han snakker også om hvordan han bruker «motion capture» til å studere mennesker i bevegelse, hva rytme betyr for mennesker og hans beste råd til unge forskere.

• Victor Evaristo Gonzalez Sanchez & Alexander Refsum Jensenius (2018). Analysing the synchronisation of COM motion with music in human standing. Fulltekst i vitenarkiv Vis sammendrag

  Introduction Postural stability have been the focus of a number of studies on fall prevention and sports, with an emphasis on walking dynamics1 . Fewer studies have aimed at understanding the influence of sound stimuli in standing posture sway 2. Although the vestibular system plays a fundamental role in the control of postural stability, it has also been shown to be key in embodied cognition processes 3. It is in part through the vestibular system that music activates motor areas in the brain to induce movement, while body movement enhances the cognitive processing of sound and music 3. This study explored the influence of music on postural control by measuring synchronization between body center of mass (COM) sway with music. Methods 7 women (32 ± 4.39 years, 1.73 ± 0.04 m, mean ± SD), and 5 men (29.67 ± 4.63 years, 1.81 ± 0.04 m) participated in the study. Participants were asked to stand still for 6 minutes as they were presented with alternating segments of silence and music. COM movements were measured from the position of a passive marker placed in the midline of the sacrum, recorded using an infrared motion capture system. Radial and vertical COM movements were cross-correlated with the pulse clarity, RMS, and spectral centroid of the stimuli. Results Paired samples t-test revealed differences in COM radial and vertical sway between silent and music conditions to be significant at the 0.05 level. A repeated measures ANOVA showed a significant effect of the stimuli on COM sway (p < 0.05). The effect of the stimuli on the lag of maximum cross-correlation (delay) between COM radial sway and RMS was shown to be significant (p < 0.05). Differences in delay between pulse clarity and COM vertical sway were significant between stimuli (p < 0.05 ). Discussion Results suggest that the effect of RMS in music-induced postural sway might be predominant in the radial plane, with anticipatory behavior observed for stimuli with low RMS. Vertical sway correspondence patterns suggest anticipatory vertical motion to music spectral centroid. A more robust understanding of a range of music features and their links with induced movement could lead to insight into the role of the vestibular and sensory systems in balance control. References 1 Cimolin, V., Galli, M. (2014). Summary measures for clinical gait analysis: A literature review. Gait & Posture 39, 1005-1010. 2 Ross, J. M., Warlaumont, A. S., Abney, D. H., Rigoli, L. M., and Balasubramaniam, R. (2016). Influence of musical groove on postural sway. Journal of Experimental Psychology: Human Perception and Performance Advance online publication. 3 Todd, N. P. (1999). Motion in music: A neurobiological perspective. Music Perception: An Interdisciplinary Journal 17, 115–126.

• Alexander Refsum Jensenius (2018). Introduction to Musical Gestures Toolbox for Matlab. Fulltekst i vitenarkiv
• Charles Patrick Martin, Victor Evaristo Gonzalez Sanchez, Agata Zelechowska, Cagri Erdem & Alexander Refsum Jensenius (2018). Stillness under Tension. Fulltekst i vitenarkiv
• Julian Fuhrer, Kyrre Glette & Alexander Refsum Jensenius (2018). Interactive Animation of RITMO Logo. Fulltekst i vitenarkiv
• Balint Laczko, Alexander Refsum Jensenius & Marie Elisabeth Rognes (2026). Instrumental Image Sonification: Towards an Accessible and Reliable Method for Life Science and Sonic Design. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  Biological image sonification—the transformation of data relationships in biological images into perceived auditory relationships—offers potential for improved medical diagnosis, immersive multimodal data exploration, new interfaces for musical expression, and educational innovation. However, trust in auditory displays is undermined by the non-proportional relationship between control parameters and perceived sound, limitations in reproducibility, and the inherent bias in human-handcrafted feature extraction. The first paper in this dissertation is a systematic review that establishes the state of the art, identifies Parameter Mapping Sonification as the dominant strategy, catalogs software tools, and traces the integration of machine learning. The second paper proposes Pixasonics as a standardized Python toolbox for image sonification, intended for both real-time and non-real-time applications. Furthermore, in the third paper, an interactive “Synth Maps” method demonstrates the non-proportionality between synthesis parameters and the auditory result, highlighting a critical limitation of Parameter Mapping Sonification and the inconsistent perceptual alignment of current audio representations. Finally, the fourth paper introduces the method “image sonification as unsupervised domain transfer” (ISUDoT), which leverages self-supervised representation learning to ensure proportionality in cross-modal domain transfer, thereby removing human bias in feature engineering. Collectively, these contributions advance image sonification as a reliable scientific instrument for life science researchers and an inspiring sound design tool for everyone else, accessible to both experts and non-experts.

• Fadi Al-Ghawanmeh, Alexander Refsum Jensenius & Kamel Smaili (2025). Ṭarab and AI: Maqām Music Generation through Machine Translation and Motion Capture. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  This multidisciplinary dissertation explores computer music generation and motion capture-informed personal adaptation in maqām improvisation. Maqām music, prevalent in the Middle East and North Africa, is characterized by audience interactivity, fostering intense emotional and meaningful physical engagement and enchantment (ṭarab). The dissertation explores how artificial intelligence and modern sensing technologies can enhance the experience of ṭarab. The first part of the dissertation is based on machine translation (MT) to generate real-time instrumental improvisatory phrases for the mawwāl and taqāsīm traditions, viewing these phrases as “sentences” through the lens of natural language processing (NLP). Due to the lack of transcribed improvisations and challenges in the automatic transcription of this non-metric interactive practice, I developed tools for curating textual datasets from vocal and MIDI inputs. I created a dataset with local musicians in Amman, collecting 6,991 parallel mawwāl sentences for MT (from vocal calls to instrumental responses), treating maqām improvisation as an under-resourced language. I aimed to simplify the representation of sentences while achieving high translation results and maintaining musical content. Using scale degrees and quantized durations, I reduced the vocabulary to 15 distinct elements. Merging similar adjacent notes also helped. This approach yielded successful results comparable to typical NLP applications, using a small, diverse dataset (8 maqāmāt). I validated the conventional MT measure, BLEU, with musically-informed objective metrics, which aligned well. Additionally, experts’ assessments helped interpret BLEU scores. MT results, both neural (NMT) and statistical (SMT), showed that merging different maqāmāt sub-datasets doesn’t necessarily improve outcomes; it can favor shorter, less sophisticated sentences in both approaches, especially in NMT. Confusion matrices revealed that in small datasets, the performance gap between SMT and NMT widens if user styles or skills differ from those who built the dataset. My discussion highlights that user musical background, performance decisions, as well as the training dataset size and performance quality are crucial factors in system design. The proposed modeling was validated through a user experience interview and an artwork. Additionally, due to the limited usefulness of the mawwāl dataset in the context of instrumental improvisations independent of voice (taqāsīm), I commissioned 717 taqāsīm, extracted frequent patterns (n-grams), and proposed a method to transform these into elaborate sentences using iterative translation, enabling real-time adaptation. The second part of the dissertation examines perceivers’ subtle musicrelated body motion to gauge their engagement with human-performed taqāsīm, considering their cultural background. Using a specially designed stimulus, I validated accelerometer-based motion capture (mocap) for measuring the quantity of motion (QoM) in the lab and conducted a crosscultural perception test with 60 participants in Amman and Oslo. QoM signals helped decode significant engagement patterns. Combining them into trend curves illustrated key gradual and abrupt engagements with both structural and non-structural aspects of the taqāsīm. QoM indications aligned with self-reported data and music literature. Conventional classification and clustering models were applied to QoM. SVM made informed guesses about participants’ cultural backgrounds, while K-means clustering emphasized the importance of music training. This demonstrates the potential of accelerometry mocap to enhance real-time music generation and perception, to achieve ṭarab. The overall results in generation and perception could significantly impact the future of interactive instrumental artworks. I conclude by proposing a preliminary algorithm for mocap-adapted taqāsīm generation, paving the way for further research.

• Agata Bochynska, Rebecca J. Five Bergstrøm & Alexander Refsum Jensenius (2024). Copyright challenges in the transition to FAIR research data at UiO: Note from a QualiFAIR working group. Det utdanningsvitenskapelige fakultet, Universitetet i Oslo . doi: 10.5281/zenodo.10830072. Fulltekst i vitenarkiv Vis sammendrag

  The competence hub QualiFAIR (2021 to 2024) at the University of Oslo has been focusing on how qualitative, context-sensitive and personally identifiable data can be made FAIR: findable, accessible, interoperable and reusable. This note summarises the findings and main recommendations from QualiFAIR's Copyright Working Group, which worked towards identifying copyright challenges in the transition to FAIR research data at the university.

• Agata Bochynska, Rebecca Josefine Five Bergstrøm & Alexander Refsum Jensenius (2024). Opphavsrettslige utfordringer ved overgangen til FAIR forskningsdata ved UiO - Notat fra en QualiFAIR-arbeidsgruppe. QualiFair. Fulltekst i vitenarkiv
• Dongho Kwak, Alexander Refsum Jensenius, Anne Danielsen, Hanne Scholz & Petter Angell Olsen (2023). Music for cells? Rhythmic mechanical stimulations of cell cultures. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  This dissertation investigates how acoustic parameters and musical elements can be generated and manipulated to induce beneficial mechanical stimulations and alterations in cell cultures. The research has been conducted as part of a life science convergence environment, and the theoretical framework and experimental method in this dissertation are derived from three different disciplines: biology, music technology, and physics. The theoretical discussions centre around biological cell sensing mechanisms, the physical limitations and potentiality of audible sound to be used as mechano-acoustic cellular stimuli, and the concept of rhythm from biology and music technology perspectives. The methods include audio signal processing, physical characterisation of the experimental setup, various biological assays, and microscopic image feature extraction. Such a radically interdisciplinary approach culminated in laboratory experiments involving sound vibrations of human cell cultures using a vertical vibration system controlled by synthesized audio signals. The experimental variables included: No Vibration (NV, control), Continuous Vibration (CV), Regular Pulse (RP), and Variable Pulse (VP). The CV condition was categorised as non-rhythmic in this dissertation, while RP and VP were categorised as rhythmic conditions. The results demonstrate alterations in F-actin filament structure (length, thickness, angle) and the tendency of increased levels of cells in the G1-phase cell cycle in vibrated cell cultures. The “effect” was more apparent under the non-rhythmic (CV) condition than rhythmic conditions (RP and VP). The results also show that F-actin filament structural properties are negatively correlated (r < -.9), and the number of cells in the G1-phase cycle is positively correlated (r > .9) in relation to the magnitudes of mechanical parameters (RMS acceleration and shear stress). Nevertheless, the biological mechanism(s) responsible for the observed effects has yet to be characterised. The results from this dissertation inspire further studies on the effects of rhythmic mechanoacoustic stimulation on cellular biological rhythms (e.g., regulation of CLOCK, PER, and CRY genes).

• Kenneth Ruud, Ingrid Heggland, Ingunn Limstrand, Klas Henning Pettersen, Gunnar Bøe & Tanja Storsul [Vis alle 16 forfattere av denne artikkelen] (2022). Investering i infrastrukturer for FAIR forskningsdata og særlig relevante forvaltningsdata for forskning. Anbefalinger fra datainfrastrukturutvalget mai 2022. Norges forskningsråd. ISSN 9788212039339. Fulltekst i vitenarkiv
• Agata Zelechowska, Alexander Refsum Jensenius, Bruno Laeng & Jonna Katariina Vuoskoski (2020). Irresistible Movement: The Role of Musical Sound, Individual Differences and Listening Context in Movement Responses to Music. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  This dissertation examines the phenomenon of spontaneous movement responses to music. It attempts to grasp and illustrate the complexity of this behaviour by viewing it from different perspectives. Unlike most previous studies on music and body movement, this dissertation places the focus on barely visible manifestations of movement, such as those that may occur when listening to music while standing still. The point of departure is a reflection on movement responses to music and why such responses are considered universal among humans. This is followed by a discussion on the different approaches to studying how music ‘inspires’ movement, and an overview of the different factors that can potentially contribute to the emergence of movement responses to music. The first goal of the empirical research was to verify the common conception that ‘music makes us move’ and examine whether such movement responses can be involuntary. Three of the five included papers show that music can, indeed, make people move, even when they try to stand as still as possible. The second goal is to explore different factors that contribute to movement responses to music. Throughout the included papers, several topics are examined, including rhythmic complexity, tempo, music genres, individual differences and playback systems. The theoretical chapters show how these topics fit into three broader components of the music experience: music, listener and context. Overall, the results suggest that several factors seem to increase movement responses to music: the clear underlying pulse in the sound stimuli, the rhythmic complexity, a tempo of around 120 beats per minute, listening on headphones rather than speakers and high empathy of the listener. All in all, this dissertation contributes to bridging several gaps in the literature on music-related body movement. It also broadens the perspective on why, how and when music moves us.

• Sembapperumaarachchige Silva & Alexander Refsum Jensenius (2020). Sonification of Standstill Recordings. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  The goal of this thesis was to develop and experiment with a set of sonification tools to explore participant data from standstill competitions. Using data from the 2012 Norwegian Championship of Standstill, three sonification models were developed using the Max/MSP programming environment. The first section of the thesis introduces sonification as a method for data exploration and discusses different sonification strategies. Momentary Displacement of the position was derived from the position data and parameter mapping methods were used to map the data features with sound parameters. The displacement of position in the XY plane or the position changes along the Z-Axis can be mapped either to white-noise or to a sine tone. The data variables control the amplitude and a filter cut-off frequency of the white noise or the amplitude and frequency of the sine tone. Moreover, using sound spatialization together with sonification was explored by mapping position coordinates to spatial parameters of a sine tone. A “falling” effect of the standing posture was identified through the sonification. Also audible were the participants’ breathing patterns and postural adjustments. All in all, the implemented sonification methods can be effectively used to get an overview of the standstill dataset.

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