AMBIENT Kroppslig synkronisering til audiovisuelle rytmer

• 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.

• 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 & 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.

• 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.

• 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.

• Jinyue Guo, Anna-Maria Christodoulou, Balint Laczko & Kyrre Glette (2024). LVNS-RAVE: Diversified audio generation with RAVE and Latent Vector Novelty Search. I Xiaodong Li & Julia Handl (Red.), GECCO '24 Companion: Proceedings of the Genetic and Evolutionary Computation Conference Companion. Association for Computing Machinery (ACM). ISSN 9798400704956. s. 667–670. doi: 10.1145/3638530.3654432. Fulltekst i vitenarkiv Vis sammendrag

  Evolutionary Algorithms and Generative Deep Learning have been two of the most powerful tools for sound generation tasks. However, they have limitations: Evolutionary Algorithms require complicated designs, posing challenges in control and achieving realistic sound generation. Generative Deep Learning models often copy from the dataset and lack creativity. In this paper, we propose LVNS-RAVE, a method to combine Evolutionary Algorithms and Generative Deep Learning to produce realistic and novel sounds. We use the RAVE model as the sound generator and the VGGish model as a novelty evaluator in the Latent Vector Novelty Search (LVNS) algorithm. The reported experiments show that the method can successfully generate diversified, novel audio samples under different mutation setups using different pre-trained RAVE models. The characteristics of the generation process can be easily controlled with the mutation parameters. The proposed algorithm can be a creative tool for sound artists and musicians.

• 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.

• Bilge Serdar Göksülük (2024). The clash between physical and digital realm: hybrid movement training during the pandemic. Discover Education. 3(1). doi: 10.1007/s44217-024-00158-y. Fulltekst i vitenarkiv Vis sammendrag

  This article is based on ethnographic research conducted in one of the physical training institutions that offer the Laban/Bartenieff Movement Studies (LBMS) certification program in 2021. Because of the COVID-19 pandemic crisis, the training was held in a hybrid format in which some participants were in the studio while others were attending remotely via Zoom. Zoom-mediated movement training for long hours revealed how the intervention of telematic technologies challenged practitioners’ sensorial experience and sense-making process. Moreover, bringing co-located and remote participants’ experiences together in the hybrid setting disclosed different modes of interaction dynamics in the studio and online. Overall, participants described their hybrid experience as a clash. In the article, starting from unfolding those clashes from the enactive perspective, I discuss how remote intercorporeality through an audio–video streaming system, Zoom, challenges participants’ sensorial experience and how remote interaction affects the shared sense-making process in the hybrid format setting.

• 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.

• Bilge Serdar Göksülük (2024). Digital intervention into dramaturgical thoughts: The dramaturgy of remote dance improvisation. I Pessi Parviainen & Leena Rouhiainen (Red.), Solvitur Ambulando "solved by moving" : dramaturgies of artistic research : proceedings of CARPA8. Theatre Academy, University of the Arts. ISSN 9789523530744. doi: https:/nivel.teak.fi/carpa8/digital-intervention-into-dramaturgical-thoughts-the-dramaturgy-of-remote-dance-improvisation/. Fulltekst i vitenarkiv
• 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.

• 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’.

• 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.

• Maham Riaz (2023). An Investigation of Supervised Learning in Music Mood Classification for Audio and MIDI. I Areti Andreopoulou & Braxton Boren (Red.), Proceedings of the Audio Engineering Society 155th Convention. Audio Engineering Society, Inc.. ISSN 9781713894667. Fulltekst i vitenarkiv Vis sammendrag

  This study aims to use supervised learning – specifically, support vector machines – as a tool for a music mood classification task. Four audio and MIDI datasets, each containing over four hundred files, were composed for use in the training and testing processes. Mood classes were formed according to the valence-arousal plane, resulting in the following: happy, sad, relaxed, and tense. Additional runs were also conducted with the linear discriminant analysis, a dimensionality reduction technique commonly used to better the performance of the classifier. The relevant audio and MIDI features were carefully selected for extraction. MIDI datasets for the same music generated better classification results than corresponding audio datasets. Furthermore, when music is composed with each mood associated with a particular key instead of mixed keys, the classification accuracy is higher.

• Maham Riaz & Anna-Maria Christodoulou (2023). Using SuperCollider with OSC Commands for Spatial Audio Control in a Multi-Speaker Setup. I Areti Andreopoulou & Braxton Boren (Red.), Proceedings of the Audio Engineering Society 155th Convention. Audio Engineering Society, Inc.. ISSN 9781713894667. Fulltekst i vitenarkiv Vis sammendrag

  With the ever-increasing prevalence of technology, its application in various music-related processes, such as music composition and performance, has become increasingly prominent. One fascinating area where technology finds utility is in music performance, offering opportunities for extensive sound exploration and manipulation. In this paper, we introduce an approach utilizing SuperCollider and Open Sound Control (OSC) commands in a multi-speaker setup, enabling spatial audio control for a truly interactive audio spatialization experience. We delve into the musicological dimensions of these distinct methods, examining their integration within a live performance setting to uncover their artistic and expressive potential. By merging technology and musicology, our research aims to unlock new avenues for immersive and captivating musical experiences.

• Jinyue Guo & Brian McFee (2023). Automatic Recognition of Cascaded Guitar Effects. I Stefania Serafin, Federico Fontana & Silvin Willemsen (Red.), Proceedings of the 26th International Conference on Digital Audio Effects. Aalborg University Copenhagen. s. 189–195. doi: 10.5281/zenodo.7973536. Fulltekst i vitenarkiv Vis sammendrag

  This paper reports on a new multi-label classification task for guitar effect recognition that is closer to the actual use case of guitar effect pedals. To generate the dataset, we used multiple clean guitar audio datasets and applied various combinations of 13 commonly used guitar effects. We compared four neural network structures: a simple Multi-Layer Perceptron as a baseline, ResNet models, a CRNN model, and a sample-level CNN model. The ResNet models achieved the best performance in terms of accuracy and robustness under various setups (with or without clean audio, seen or unseen dataset), with a micro F1 of 0.876 and Macro F1 of 0.906 in the hardest setup. An ablation study on the ResNet models further indicates the necessary model complexity for the task.

• 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.

• 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.

• 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
• 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.

• 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.

Se alle arbeider i NVA

• Bilge Serdar Göksülük (2024). Immersive Technologies and Their Implications in Theatre for Young Audiences:Challenges and Opportunities. Cândido. ISBN 9786587602479. 15 s. Fulltekst i vitenarkiv Vis sammendrag

  Today’s immersive technology creates a real-like ambience, offering a unique interactive and multimodal experience onstage. These implications might look promising for new aesthetic forms. However, using them on the stage in this technology-driven world raises some concerns about their potential long-term impact on young people’s development. In this paper, I will critically evaluate the use of immersive technology in TYA, questioning whether performing arts can offer a new form of aesthetic experience.

• 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

• 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 (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 (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.

• 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 (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). 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.

• 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). 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). 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?

• 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.

• 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). 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 (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 (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 & 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?

• 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?

• 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). "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

• 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.

• 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.

• 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.

• 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.

• 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 (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). 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
• 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
• 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?

• 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). 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.

• 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.

• 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?

• Maham Riaz (2025). Where is That Bird? The Impact of Artificial Birdsong in Public Indoor Environments. 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.

• Maham Riaz (2025). VentHackz: Exploring the Musicality of Ventilation Systems. 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.

• 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?

• 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.

• Maham Riaz (2025). The Art and Science of Immersive Sound Design in Games - What's the Secret? Fulltekst i vitenarkiv Vis sammendrag

  In modern games, sound design is far more than mere background noise—it conveys a story and shapes entire worlds. We will explore how gamification principles—interaction, feedback, progression, challenge, exploration, and motivation—integrate with sound design techniques such as spatial audio, adaptive mixing, and procedural audio to create responsive audio environments. Practical aspects of implementing game audio will be discussed within Unity (and Wwise).

• 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.

• Bilge Serdar Göksülük & Aleksander Tidemann (2024). Digital Collaboration in Dance and Music: Remote Interaction and Improvisation with Zoom and LoLa. doi: https:/www.ultima.no/en/ulysses-online-session-remote-connections-co-creation-across-distances. Fulltekst i vitenarkiv Vis sammendrag

  This digital forum explores artistic collaboration through online platforms, examining how technology can facilitate sustainable and eco-friendly ways of creating music collectively. Participants will gain insights into artist-driven initiatives and practical tools for creative co-creation, regardless of geographical distance. Following three short presentations from invited contributors, there will be an open dialogue and exchange of experiences, allowing ULYSSES artists to share their own projects.

• 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 (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.

• Bilge Serdar Göksülük (2024). Conducting Semi-Structured Dance Research in Motion Capture Labs. Fulltekst i vitenarkiv
• Bilge Serdar Göksülük (2024). Remote Intercorporeality Through Telematic Technologies. Fulltekst i vitenarkiv
• Bilge Serdar Göksülük (2024). Remote Dance Improvisation Through Advanced Telematic Technologies. Fulltekst i vitenarkiv
• 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.

• Bilge Serdar Göksülük (2024). Immersive Technologies in TYA: Bodily Concerns, Challenges and Opportunities. Fulltekst i vitenarkiv
• Bilge Serdar Göksülük (2024). Immersive Technologies and Their Implications in Theatre for Young Audiences. Fulltekst i vitenarkiv
• 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
• Maham Riaz (2024). Comparing Spatial Audio Recordings from Commercially Available 360-degree Video Cameras. 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.

• Maham Riaz & Ioannis Theodoridis (2024). Ventilation hacking. Fulltekst i vitenarkiv Vis sammendrag

  We examine innovative approaches to mitigate the issue of unwanted ventilation noise, transforming it from a disruptive element into a source of ambient or musical sound. We propose a range of solutions, from mechanical adjustments to acoustic treatments and digital interventions.

• Alexander Refsum Jensenius (2024). Stod stille hver dag i 10 minutter. [TV]. NRK Helgemorgen. Fulltekst i vitenarkiv
• Jinyue Guo (2024). Comparing Four 360-Degree Cameras for Spatial Video Recording and Analysis. 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 videobased analysis pipelines.

• 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 & 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.

• 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.

• 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.

• 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). 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). MusicLab as an Open Science innovation project between a research centre and the University library. 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 (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). 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 (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?

• Maham Riaz (2023). Sound Design in Unity: Immersive Audio for Virtual Reality Storytelling. Fulltekst i vitenarkiv Vis sammendrag

  Research talk on sound design for games and immersive environments. The Unity game engine is used for environmental modeling. The Oculus Spatializer plugin provides control over binaural spatialization with native head related transfer functions (HRTF). Game scenes included C# scripts, which accounted for intermittent emitters (randomly triggered sounds of nature, critters and birds), crossfades, occlusion and raycasting. In the mixing stage, mixer groups, mixer snapshsots, snapshot triggers, SFX reverb sends, and low/high-pass filters were some of the tools demonstrated.

• 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.

• 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). 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.

• Bilge Serdar Göksülük (2023). The Implications of Laban/Bartenieff Movement Studies in the Field of Dance Anthropology. Fulltekst i vitenarkiv Vis sammendrag

  In my presentation, I will discuss the application of LBMS in the field of dance anthropology and provide insights into its future implications. While kinetography (Labanotation) is commonly recognized and used in dance anthropology, the embodied aspects of Laban’s work are often overlooked. Therefore, I will focus on the embodied aspects of LBMS in dance anthropology, rather than just notation. To start, I will provide a general overview of how dance analysis is understood within the discipline of dance anthropology. Then, I will argue how LBMS impacts the discourse of dance analysis. In the second part of my presentation, I will bolster my argument with an example by analyzing a short segment of the Caucasian folk dance 'Zafak' performed by the Nalmes State Folk Dance Company of Adygea. Through this example, I aim to demonstrate how dance analysis using LBMS can contribute to anthropological research.

• Maham Riaz (2023). An Investigation of Supervised Learning in Music Mood Classification for Audio and MIDI. Fulltekst i vitenarkiv Vis sammendrag

  This study aims to use supervised learning – specifically, support vector machines – as a tool for a music mood classification task. Four audio and MIDI datasets, each containing over four hundred files, were composed for use in the training and testing processes. Mood classes were formed according to the valence-arousal plane, resulting in the following: happy, sad, relaxed, and tense. Additional runs were also conducted with the linear discriminant analysis, a dimensionality reduction technique commonly used to better the performance of the classifier. The relevant audio and MIDI features were carefully selected for extraction. MIDI datasets for the same music generated better classification results than corresponding audio datasets. Furthermore, when music is composed with each mood associated with a particular key instead of mixed keys, the classification accuracy is higher.

• Bilge Serdar Göksülük (2023). The Challenges and Possibilities of The Hybrid Format Creative Process. Fulltekst i vitenarkiv
• Bilge Serdar Göksülük (2023). Phenomenological Inquiry of Movement as a Methodology in Performing Arts Education. Fulltekst i vitenarkiv
• Bilge Serdar Göksülük (2023). Embodied Knowledge Production Through Telematics in the Hybrid Realm. Fulltekst i vitenarkiv
• Bilge Serdar Göksülük (2023). Digital Intervention Into Dramaturgical Thoughts. Fulltekst i vitenarkiv
• Bilge Serdar Göksülük (2023). Hybrid Format Movement Training Under the Pandemic Measures: A Clash Between Physical and Digital Realm. Fulltekst i vitenarkiv
• Bilge Serdar Göksülük (2023). Performative Quality of Aesthetics in Bio-Cultural Paradigm. 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 & 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.

• Jinyue Guo (2023). Automatic Recognition of Cascaded Guitar Effects. Fulltekst i vitenarkiv
• 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.

• Maham Riaz (2023). Using SuperCollider with OSC Commands for Spatial Audio Control in a Multi-Speaker Setup. Fulltekst i vitenarkiv Vis sammendrag

  With the ever-increasing prevalence of technology, its application in various music-related processes, such as music composition and performance, has become increasingly prominent. One fascinating area where technology finds utility is in music performance, offering opportunities for extensive sound exploration and manipulation. In this paper, we introduce an approach utilizing SuperCollider and Open Sound Control (OSC) commands in a multi-speaker setup, enabling spatial audio control for a truly interactive audio spatialization experience. We delve into the musicological dimensions of these distinct methods, examining their integration within a live performance setting to uncover their artistic and expressive potential. By merging technology and musicology, our research aims to unlock new avenues for immersive and captivating musical experiences.

• 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.

• 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). 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.

• Bilge Serdar Göksülük (2022). From Bodily Interactions to Embodied Concepts. 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.

• 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.

• 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 (2021). Open Research as Communication Strategy. 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.

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