Publikasjoner

• Jesper Andersen, Olivier Lartillot & Stefania Serafin (2026). Exploring Real-Time Visualizations as Support for Concert experiences for Hearing-Impaired. I Sara Comai & Aikaterini Tzompanaki (Red.), GoodIT '26: Proceedings of the 2026 International Conference on Information Technology for Social. Association for Computing Machinery (ACM). ISSN 9798400724831. s. 550–560. doi: 10.1145/3794786.3830797. Fulltekst i vitenarkiv Vis sammendrag

  This study evaluates two visualization strategies designed to enhance concert experience for individuals with hearing impairments. One visualization was integrated into a performance by a classical string quartet, while the other accompanied a band performance. A total of 67 participants, including 39 individuals with hearing impairments, evaluated their experience through questionnaires. Additionally, in-depth interviews were conducted with 16 participants from the hearing-impaired group. Analysis of the questionnaire data revealed no significant differences in visualization preferences between hearing impaired and normal hearing participants, though individual preferences varied considerably. The interview data offered valuable insights into participants’ subjective experiences. Several participants reported that the visualizations were cognitively taxing and, at times, distracting, pulling their focus away from the music rather than enhancing it. Many expressed a preference for clearer introductions to the visualization strategies before the concert, indicating that a better preparation for the audience could help alleviate cognitive load. Overall, the findings suggest that, while real-time visualizations hold promise as an accessibility tool, their current implementation may not sufficiently enhance the concert experience for hearing-impaired audiences. Future research should focus on simplifying the visual design and incorporating pre-concert orientation. These results contribute to the growing body of knowledge on inclusive practices in the performing arts and highlight important avenues for continued research and development.

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

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

• Markus Yuki Nishimura, Kohei Matsumoto, Jim Tørresen & Ryo Kurazume (2026). FLexible Multi-Robot Social Navigation Using Diffusion-Based Deep Reinforcement Learning. I Kazuo Ishii, Tomohiro Shibata, Ayanna Howard, Silvia Rossi & Aurélie Clodic (Red.), Proceedings of The 35th IEEE International Conference on Robot and Human Interactive Communication (RO-MAN 2026). IEEE. ISSN 9798331588656. s. 2122–2127. doi: 10.1109/RO-MAN72286.2026.11714669. Fulltekst i vitenarkiv Vis sammendrag

  Diffusion-based reinforcement learning has recently shown strong performance in robot navigation, and prior work has demonstrated that Q-Score Matching (QSM) is effective in crowded environments. Building on this line of work, we study inference-time guidance for multi-robot social navigation using Multi-Agent Q-Score Matching (MAQSM) as the backbone policy. Rather than modifying the training objective, the proposed method steers reverse diffusion sampling of a trained MAQSM policy at evaluation time toward more coordinated multi-robot behavior. The guidance combines formation consistency and goal alignment, enabling deploymenttime control without retraining. In our implementation, robots share the same diffusion policy parameters, generate per-robot actions under this shared policy, and execute the resulting multi-robot action jointly in the simulator. Experiments first compare QSM and MAQSM to motivate the choice of MAQSM as the underlying multi-robot backbone, and then compare unguided and guided MAQSM in a more challenging bidirectional scenario. The results show that inference-time guidance improves success and safety in denser settings, at the cost of longer navigation time. These findings position post-training guidance as a practical way to improve diffusion-based multirobot policies while preserving the original learning pipeline.

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

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

• Laura Bishop, Anna Niemand, Sara D'Amario & Werner Goebl (2026). Moving together, feeling together: Body coordination, pupil size, and musical togetherness in classical duo performance. Psychology of Music. ISSN 0305-7356. doi: 10.1177/03057356261436796. Fulltekst i vitenarkiv Vis sammendrag

  This study investigated the relationships between bodily expression, bodily coordination, mental effort, and self-reported experiences of musical togetherness. Singer-pianist duos performed pieces of classical repertoire before and after rehearsing together. Video, head motion, respiration, and pupillometry data were collected. Afterwards, the performers watched a video of their post-rehearsal performance and made continuous ratings of how together they felt. They also provided written descriptions of the cues that informed their togetherness judgements. Our analyses showed stronger head coordination between partners and larger pupil diameter during high-togetherness phrases than during low-togetherness phrases for one of the pieces. Inhalation synchrony and quantity of head motion did not differ between high- and low-togetherness phrases. Pupil size was greater during pre-rehearsal performances than during post-rehearsal performances, suggesting that demands on attention might have reduced after players had jointly constructed a shared interpretation and grown more accustomed to performing together. A thematic analysis of written responses showed that performers’ concept of togetherness related to coherence in musical parameters, moving and breathing together, and sensations of feeling together, shared musical emotion, and effortlessness. We discuss these findings in relation to the musical togetherness model.

• Ivan Pilkov, Laura Bishop & Carlos Cancino-Chacón (2026). Estimating pianists' hand and finger kinematics with markerless motion capture. 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. Fulltekst i vitenarkiv Vis sammendrag

  Highly-skilled pianists demonstrate fluent and efficient hand and finger motion. Recent developments in video-based methods for markerless motion capture that rely on deep learning algorithms offer a less intrusive and resource-intensive alternative to traditional marker-based infrared ones. In this work we present an initial look into how such a markerless motion capture system could be developed and utilized for the study of pianists’ hand and finger kinematics. We collect data from different pianists performing technical exercises and present an analysis of the kinematics of hand and finger motion that arise when pianists are challenged by playing at fast and slow tempi. We investigate different kinematic measures and analyze the recorded MIDI to assess the pianists’ strategies for timekeeping and hand coordination and discover certain indications for smoother motions and better control at intermediate tempi. Our results are also in line with previous work in the field and point towards the suitability of this approach for studying pianists’ hand movements.

• Caroline Palmer, Wenbo Yi & Andrii Smykovskyi (2026). Synchrony and Reciprocity in Rhythmic Interaction. Annals of the New York Academy of Sciences. ISSN 0077-8923. 1560(1). doi: 10.1111/nyas.70326. Fulltekst i vitenarkiv Vis sammendrag

  Multiperson rhythmic tasks such as music performance, dance, and chant typically result in a sequence of actions or events that must be coordinated temporally across individuals. Is reciprocity a bidirectional influence among individuals who perform some action or behavior together, necessary for successful synchronization or for enhancing social interactions among those individuals? Reciprocity is considered a fundamental mechanism for promoting prosocial behavior between individuals and in evolutionary biology. We examine group rhythmic auditory tasks in terms of behavioral synchrony (e.g., body movements, tone onsets); physiological synchrony (e.g., cardiac and respiratory rhythms); and emotional synchrony (e.g., shared emotional responses). The paper identifies scientific studies that test whether reciprocity at one level (behavioral, physiological, emotional) is also shared between those individuals at another level. We review distinctions between individual differences and group‐level differences that may influence behavioral, physiological, and emotional synchrony. Understanding reciprocal relationships among group members is important for psychological and computational models of how relationships evolve over time in auditory rhythmic behaviors.

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

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

• Sandra Solli, Keith B Doelling, Anne Danielsen, Mathieu Pham Van Cang, Tor Endestad & Luc H. Arnal (2026). Motor contributions to temporal prediction extend beyond periodic rhythms | Scientific Reports. Scientific Reports. doi: 10.1038/s41598-026-62759-x. Fulltekst i vitenarkiv Vis sammendrag

  The auditory system requires a reliable and rapid tracking of the temporal dynamics of sounds. While moving in sync with a rhythm can improve timing perception, most research has focused on isochronous rhythms, conflating periodicity with predictability. This study aimed to determine whether the benefits of auditory-motor synchronization extend to aperiodic rhythms with predictable temporal structures and to uncover the neural correlates associated with the motor-enhanced benefit in timing performance. Participants listened to periodic (isochronous) and aperiodic (tempo-changing) rhythms while electroencephalography (EEG) was recorded. They imagined the continuation of each rhythm for two beats and judged the timing of a final target sound while either tapping along or listening attentively. Results showed that participants could synchronize their movements across all rhythm types. However, movement differentially affected temporal judgment across rhythms. Tapping significantly improved timing accuracy for isochronous and decelerating rhythms, demonstrating that strict periodicity is not a prerequisite for motor benefits. However, tapping impaired performance for accelerating rhythms. Behavioral evidence, supported by ERP findings, suggests that movement-induced delayed expectations during acceleration may override the predictive benefits of motor alignment. Thus, while the motor system supports general predictive processing beyond periodicity, accelerations and decelerations involve distinct predictive and motor processing demands.

• Jim Tørresen, Diana Saplacan Lindblom, Adel Baselizadeh, Tobias Mahler & Lee Andrew Bygrave (2026). Reducing Robot Vulnerabilities Through Joint Regulatory Assessment and User-Centered Development and Testing. I Yueh-Hsuan Weng (Red.), Social Robots and Ethical Design. Springer. ISSN 9789819225156. Fulltekst i vitenarkiv Vis sammendrag

  This book chapter introduces research examples from a unique collaboration between legal scholars and technology scholars who have together endeavored to make progress in safe and privacy-preserving robot assistant development and deployment. This collaboration has taken place within the “Vulnerability in the Robot Society” (VIROS) research project at the University of Oslo, Norway (VIROS 2025). Institutionally, this is a joint research project between the Norwegian Research Center for Computers and Law (NRCCL) at the Department of Private Law and the Robotics and Intelligent Systems (ROBIN) research group at the Department of Informatics. The project explores challenges regarding digital vulnerabilities that the adoption of robots in human environments poses, particularly as regards privacy, safety, and security, and how these challenges can be met from legal and technical perspectives. We have been particularly interested in exploring assistant and healthcare robots since this domain imposes high demands on the technology to be used. As part of the project, we have analyzed various European Union (EU) regulations that have been introduced in recent years, with a view to assessing their impact in the domain. The TIAGo robot from PAL Robotics has been the main robot platform for technical work and experimental studies in the project. A number of novel methods for robot sensing and control have been implemented. Further, several of them have been assessed through human–robot interaction studies. This chapter introduces the VIROS project and outlines some of our regulatory and technological research. We also highlight several of the conflicting trade-offs seen in the domain of HRI (Torresen et al. 2023).

• Diana Saplacan Lindblom, Sanna Kuoppamäki, Leon Bodenhagen & Jim Tørresen (2026). Robots as Welfare Technologies and Actors within Future Homeand Healthcare Services. I Laura Havinen & Susanne Hägglund (Red.), Adjunct Proceedings of the 14th Nordic Conference on Human-Computer Interaction. Association for Computing Machinery (ACM). ISSN 9798400727986. Fulltekst i vitenarkiv Vis sammendrag

  This workshop explores whether, how, and under which conditions Welfare Robots (WRs), may be meaningfully integrated into future home- and healthcare services and practices. Building on current debates on welfare technology, AI-driven robots, and post-growth Human-Robot Interaction (HRI), the workshop invites designers, roboticists, engineers, healthcare professionals, philosophers, sociologists, and other practitioners to critically examine and systematically engage in contributing to exploring design alternatives and co-design a future model for responsible integration of robots into future care services, using Story Dialogue Method.

• Diana Saplacan Lindblom, Yueh-Hsuan Weng, Pedro Pablo Lucas Bravo, Adel Baselizadeh & Jim Tørresen (2026). A Cross-Cultural Video-Based Study between Norway and Japan on Informed Consent and Disclosure Mechanisms on the Use of Social Robots in Public and Private Spaces - Users' Perspectives. I Kazuo Ishii, Tomohiro Shibata, Ayanna Howard, Silvia Rossi & Aurélie Clodic (Red.), Proceedings of The 35th IEEE International Conference on Robot and Human Interactive Communication (RO-MAN 2026). IEEE. ISSN 9798331588656. Fulltekst i vitenarkiv
• Claudia Magdalena Sikora, Marieke van Otterdijk, Rebekka Soma-Jestilä, Jim Tørresen & Diana Saplacan Lindblom (2026). "There’s something human about it!” - Exploring users’ perception of nonverbal communication of robotic furniture. I Hooman Samani & Saina Akhond (Red.), Proceedings of the International Confernece on Social Robotics (ICSR) + ART 2026. Springer International Publishing . Fulltekst i vitenarkiv Vis sammendrag

  Non-anthropomorphic robots are integrating into our homes. People attribute human-like characteristics to these robots, although they do not resemble humans. This raises the question of whether similar processes would occur when people interact with robot furniture. Thus, the presented exploratory pilot study investigates how users intuitively interpret and perceive the non verbal communication of such robots. In an instrumental case study, we had eleven participants interacting with the T-ABLE robot through expressive behavior. Participants were interviewed about their experience. Our findings indicate that the participants use their associations between behavior and prior to similar experiences to attribute personality to the robot table. These findings provide insights for theorizing the intuitive comprehension of the behavior of non-anthropomorphic robots.

• Bruno Laeng, Ayako Saneyoshi, Olga Rogulina & Akiyoshi Kitaoka (2026). Pupillary adjustments to the illusory depth of rotoreliefs. Perception. ISSN 0301-0066. doi: 10.1177/03010066261473164. Fulltekst i vitenarkiv Vis sammendrag

  Recent studies in the perception of visual illusions as well as mental imagery indicate that adjustments of the eye pupils reflect the perception instead of the light input stimulating the eyes. The present study put to test the expectation that similar adjustments of the eye pupil and, possibly, of other oculomotor responses like vergence, would be triggered by the stereokinetic effect, that is, illusory depth. In an eye-tracking study, both gaze direction and pupillary changes were measured while observers viewed “rotoreliefs,”’ that is, rotating two-dimensional patterns, that are known to generate a particularly strong impression of depth. Rotoreliefs can be multistable, and in some cases their perceptual interpretations alternate between seeing either a bump or a hole, protruding or extending beyond the screen. We found strong evidence that pupil diameters were larger when the depth illusion was that of a hole (funnel) than of a bump (cone). Additionally, eyes diverged a few seconds after observers reported a reversal from a bump to a hole. Thus, the eyes adjust spontaneously to what looks like a three-dimensional form, regardless of whether this is an illusion or a veridical perception. We propose that such oculomotor adjustments to illusions index the disambiguation of visual input that optimizes possible interactions with external objects in a dynamic 3D world.

• Ege de Bruin, Kyrre Glette & Kai Olav Ellefsen (2026). Lamarckian Inheritance in Dynamic Environments: How Key Variables Affect Evolutionary Dynamics. ALIFE : Proceedings of the Artificial Life Conference. isal2026. doi: https:/direct.mit.edu/isal/proceedings/isal2026/38/35/138242. Fulltekst i vitenarkiv
• Ege de Bruin, Kyrre Glette, Kai Ellefsen, Giorgia Nadizar & Eric Medvet (2026). Social Learning Strategies for Evolved Virtual Soft Robots. I Leonardo Trujillo & Ting Hu (Red.), GECCO '26: Proceedings of the Genetic and Evolutionary Computation Conference. Association for Computing Machinery (ACM). ISSN 9798400724879. s. 96–105. doi: 10.1145/3795095.3805149. Fulltekst i vitenarkiv
• Jonna Katariina Vuoskoski & Simon Høffding (2026). Empathy, Absorption, and the Feeling of Being Moved by Music. I Andrea Schiavio, Jonna K Vuoskoski & Youn Kim (Red.), Music and the Cognitive Humanities: Interdisciplinary Insights. Oxford University Press. ISSN 9780197755600. s. 196–217. doi: 10.1093/9780197755600.003.0009. Fulltekst i vitenarkiv Vis sammendrag

  The findings of a recent research concert, MusicLab Copenhagen, illustrate that musical absorption and feeling moved by music appear to be highly similar and interrelated experiences, contributing strongly to listeners’ enjoyment of the music. Both experiences also seem to have an important socio-affective dimension, leading to enhanced positive affect and increased feelings of connectedness to the performers and other audience members. This chapter employs the framework of cognitive humanities, integrating perspectives from music cognition and phenomenology, to clarify the conceptual overlap as well as the subtle differences between the constructs of musical absorption and feeling moved by music. It also outlines a common underlying process: empathic “feeling into” the music.

• Vinicius Rezende Carvalho, Alejandro Hugo Nasimbera, Silvia Kochen, Anne-Kristin Solbakk & Alejandro Omar Blenkmann (2026). Human Single-Neuron Responses to Multi-Feature Auditory Deviants: Evidence From Medial Temporal Lobe. European Journal of Neuroscience. ISSN 0953-816X. 63(12). doi: 10.1111/ejn.70573. Fulltekst i vitenarkiv
• Andrii Smykovskyi, Bravo van Kerrebroeck, Jonna Katariina Vuoskoski & Caroline Palmer (2026). Individual Tempo Asymmetries and Coupling Dynamics in Dyadic Musical Synchronization. Proceedings of the Annual Meeting of the Cognitive Science Society. 48, s. 4659–4665. doi: https:/escholarship.org/uc/item/40q8w4b4. Fulltekst i vitenarkiv Vis sammendrag

  Interpersonal synchronization supports social interaction by enabling coordinated behavior and shared emotional experience, yet how emotions influence the mechanisms underlying synchronization remains poorly understood. We investigated how emotional feedback influences auditory–motor synchronization between dyadic partners with faster and slower Spontaneous Production Rates (SPR). Nonmusicians completed a joint tapping task with pre-feedback, feedback (matched or mismatched positive or negative), and post-feedback phases. Temporal asynchronies were modeled using a delay-coupled oscillator model to estimate participant-specific coupling parameters. Model comparisons between delay-coupled and zero-delay models showed that allowing for a delay significantly improved model fit. Slower-SPR partners coupled more strongly than faster partners, while feedback valence did not affect coupling strength. Coupling strength was positively associated with arousal in pre-feedback trials and with perceived synchronization success under mismatched feedback trials. These findings demonstrate the role of intrinsic frequency differences and shared feedback structure in organizing interpersonal synchronization and its subjective correlates.

• Burhan Mohammad Sarfraz, Diana Saplacan Lindblom, Adel Baselizadeh & Jim Torresen (2026). The Privacy-Preserving Capabilities of a Service Robot in a Scenario-Based Healthcare Setting. I Lynne Baillie, William D. Smart, Maartje De Graaf, Matthew Gombolay & Ilaria Torre (Red.), Proceedings of the 21st ACM/IEEE International Conference on Human-Robot Interaction (HRI Companion '26). Association for Computing Machinery (ACM). ISSN 9798400723216. s. 675–679. doi: 10.1145/3776734.3794481. Fulltekst i vitenarkiv
• Rainer Polak, Anne Danielsen, Nori Jacoby, Lara Pearson, Samuel Horlor & Stephane Vincent B Aubinet [Vis alle 8 forfattere av denne artikkelen] (2026). Culture in psychology and neuroscience: Concepts, relevance, and empirical evidence in rhythm perception. Physics of Life Reviews. ISSN 1571-0645. 58, s. 196–222. doi: 10.1016/j.plrev.2026.07.002. Fulltekst i vitenarkiv Vis sammendrag

  Perceptual systems adapt through individual experience across the lifespan, an ability referred to as plasticity. To understand perceptual plasticity, a promising avenue is to investigate how perception is shaped by cultural experience, as a process deeply embedded within collective practices of cultural production and social learning. The current review synthesizes findings from recent behavioral experiments investigating cross-cultural variation in rhythm perception. Specifically, these studies show that fundamental perceptual processes, such as event timing and rhythm categorization, display shared features but also systematic differences across cultural groups. Critically, these differences correlate with statistically prominent and socially relevant features of cultural production, revealing how perceptual systems are tuned to their music-cultural environments. Yet, how can cross-cultural differences in perception be related back to the collective practices that produce the diversity of cultural environments in the first place? To bridge this gap, we propose perceptual niche construction as an evolutionary approach that positions culture as both a source and a product of perceptual plasticity. That is, cultural experience tunes individual perception, yielding culturally diverse perceptual processes. These processes, in turn, function as cultural selection pressures shaping collective practices across nested timescales, thus contributing back to the diversity of cultural environments in which perception is tuned. Notably, this approach has important implications for research in psychology and neuroscience: it operationalizes culture as communities of practice, highlights the relevance of contextually situated research, and accounts for the coevolutionary nature of culture-driven perceptual plasticity.

• Lasse Lehtonen, Jonna Katariina Vuoskoski, Henna-Riikka Peltola, Kaj Ahlsved & Kai Tuuri (2026). Videopelien musiikin kokeminen ja musiikilliset käytänteet. Musiikki. 56(2), s. 15–45. doi: 10.51816/musiikki.185954. Fulltekst i vitenarkiv Vis sammendrag

  Videopeleistä on muodostunut viime vuosikymmeninä merkittävä osa nykykulttuuria. Lukuisat ihmiset pelaavat ja kokevat niitä arjessaan. Artikkelissa neljä musiikintutkijaa esittelee eri näkökulmista, miten he tutkisivat videopelien musiikkia, sen kokemista ja käytänteitä. Tarjotut näkökulmat liittyvät esimerkiksi ludomusikologiaan eli pelimusiikin ja -äänen musiikkitieteelliseen tutkimukseen, mediatutkimukseen, musiikkipsykologiaan, musiikkisosiologiaan sekä etnomusikologiaan ja kulttuurintutkimukseen.

• 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.

• Anne Danielsen, Justin London, Martin Torvik Langerød & Guilherme Schmidt Câmara (2026). All About That Bass Drum? Asynchrony Effects on the Perceived Timing of Compound Musical Sounds. Annals of the New York Academy of Sciences. ISSN 0077-8923. 1560(1). doi: 10.1111/nyas.70306. Fulltekst i vitenarkiv Vis sammendrag

  When a sound occurs (i.e., its acoustic onset) is not the same as when we perceive that sound to occur. The latter location is known as the “P‐center” in both music and language perception, and can be a few to over a hundred milliseconds after a sound's acoustic onset. While P‐center perception in music has received scrutiny, it remains unclear how P‐centers emerge when multiple instruments play together, particularly when they are not perfectly synchronized. Here, we investigate the effect of different degrees of instrument asynchrony on the P‐center of their combined sound. In two experiments, participants aligned a click probe to pairs of instruments used in popular music with varying asynchronies (0–±80 ms). Results show that increasing asynchrony shifts the P‐center of the compound sound later in time. Moreover, fast‐attack instruments (e.g., kick drum) exert a strong pull on the P‐center; fast–slow pairs largely retained a single P‐center anchored to the fast‐attack sound. By contrast, pairs of fast‐attack sounds with ≥40 ms asynchronies between their individual P‐centers provided evidence of perceptual segregation of the sound into two events. The findings show how inter‐instrument asynchronies and attack characteristics jointly structure the perceived timing and unity of compound musical sounds.

• 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.

• Rainer Polak (2026). Performance in the Round: Embedded Audiency at Music–Dance Events in Mali. Journal of the Royal Musical Association. ISSN 0269-0403. 151(1), s. 161–181. doi: 10.1017/rma.2026.10066. Fulltekst i vitenarkiv Vis sammendrag

  Abstract In many West African dance-drumming genres, the emphasis is on involving the gathered community in the performance, inviting them to take turns dancing. In such performance contexts, there is no audience in the strict sense, no group of participants who are not themselves directly involved as performers. Based on ethnographic case studies of music–dance events in rural southern Mali, this article argues for the concept of embedded audiency, showing how musicians provide dancers with the crucial contributions of audiency to performance: focused attention, social recognition, and meaning.

• Rainer Polak, Lara Pearson & Samuel Horlor (2026). Round Table: Audiency beyond the Concert Hall: Theory and Ethnographic Case Studies. Journal of the Royal Musical Association. ISSN 0269-0403. 151(1), s. 147–160. doi: 10.1017/rma.2026.10064. Fulltekst i vitenarkiv Vis sammendrag

  In recent years, the neologism audiency has found traction as a direct counterpart to the term performance , not least among theatre and performance scholars. 1 It announces audience research that is inclined to understand phenomena of witnessing as action and as involved in processes that stand in a mutually constitutive relationship with performance. This contrasts with the more familiar focus on groups of people (‘audiences’) and their constituent role identities (‘audience members’). Building on existing work, this round table seeks to further develop the audiency perspective by applying it to contexts outside of concert scenarios and other events characterized by a stable separation of counterposed performer and audience groups. We propose that considering audiency as action and opening it up to a wider range of musical contexts, ranging from rituals to games and from work to healing, can bring a deeper sense of its centrality in musical life.

• 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.

• Diego Marin-Bucio (2026). A Framework for Human–AI Dance Creation: The Machinic Movement Matrix. 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. s. 1–9. doi: https:/dl.acm.org/doi/10.1145/3802842.3802849. Fulltekst i vitenarkiv Vis sammendrag

  This article proposes a conceptual framework for analyzing human–machine co-creation in dance through the lens of embodied interaction and human–AI collaboration. While the integration of AI in the performing arts has expanded rapidly, critical tools for evaluating the nature and degree of machine participation in computational creativity and interactive performance remain limited. To address this gap, the paper introduces a three-axis analytical model that characterizes human–AI interaction through generativity, responsiveness, and agency distribution. Together, these dimensions form a taxonomy of machinic agency in choreographic processes, classifying machine roles as tools, catalysts, puppets, or collaborators. This work contributes to the growing field of dance technology by providing a theoretical framework and analytical vocabulary for understanding how kinematic communication and relational agency unfold in creative practice. It further proposes a set of conceptual categories—intermedial dance, choreorobotics, high-tech puppetry, AI dance, cyborg dance, and human–AI dance—to distinguish among diverse modes of human–machine performance interaction, offering researchers and artists a structured approach for analyzing and designing embodied human–machine dance collaborations.

• 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.

• Nanette Nielsen (2026). Enacting Musical Creativity: The Value of Human Agency in the Face of AI. Journal of Consciousness Studies. ISSN 1355-8250. 33(3), s. 123–144. doi: 10.53765/20512201.33.3.123. Fulltekst i vitenarkiv Vis sammendrag

  In his recent critique of well-established simplified comparisons between the human mind and AI, Alva Noë encourages us to 'rage against the machine' (Noë, 2024). In this article, I build on Noë's timely encouragement, and sketch perspectives from both music studies and enactivist philosophy in order to interrogate what musicking might add to the debate. As a case study, I explore the recent public discourse surrounding the AI-band The Velvet Sundown and consider the implications — mental health related and ethical — of engaging with AI-generated music. I draw on current scholarship on musical creativity and AI to discuss the possibilities and limitations of creative agency in AI, laying the foundation for why human creative agency should be regarded more valuable than the artificial creativity that AI offers. I also discuss some ethical implications of sharing agency with AI, suggesting that we should continue to foster attunement to our creative agency and capabilities, as empowered but also vulnerable musicking human agents. I argue that musicking offers an enactive entanglement through which we are granted an opportunity to embrace risk, resist rules, and learn new modes of orientation and reorientation that serve as empowering tools for navigating our way through the resistant path to being human.

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

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

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

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

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

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

• Diego Marin-Bucio, Anne Danielsen, Noumouke Doumbia & Rainer Polak (2026). Memory in performance: kinesthetic and procedural dimensions of skill acquisition in dance improvisation. Frontiers in Psychology. 17. doi: 10.3389/fpsyg.2026.1751590. Fulltekst i vitenarkiv Vis sammendrag

  Improvisation is central to creative behavior across artistic and everyday domains, yet it is often portrayed as either pure freedom or rule-bound execution. While research in music and dance has shown that improvisation draws on structured kinesthetic vocabularies, less is known about how cultural rhythm and embodied memory interact in real time within and across genres. This study addresses that gap through ethnographic fieldwork in West Africa, where the first author, trained in contemporary dance, engaged in learning and performing Malian djembe dance. Drawing on autoethnography with a phenomenological orientation, alongside participant observation and conversations with Malian drummers and dancers, the analysis examines how kinesthetic and procedural memories inform real-time performance. Findings suggest that improvisation operates through culturally specific ways of sensing and attending to movement: dancers navigate genre-specific repertoire, rhythmic cues, and bodily affordances to evoke and transform embodied material. However, rather than merely reproducing fixed repertorial units , dancers also reconfigure embodied resources such as movement qualities in responsive and inventive ways. Our research supports the view of improvisation as structured play rather than unbound invention and advances the discourse by emphasizing the reconstructive play of embodied recall—how cultural and personal memories are recomposed in performance. Overall, the study contributes to understanding improvisation as a cognitive and cultural process: not the free invention of form but the creative reorganization of embodied memories within shared perceptual and rhythmic systems.

• Liv Merve Akca Abrahamsson, Sascha Frühholz & Jonna Katariina Vuoskoski (2026). Domain-specific perception of emotional intensity in brief musical and vocal expressions. JASA Express Letters. 6(2). doi: 10.1121/10.0042460. Fulltekst i vitenarkiv Vis sammendrag

  Auditory emotional intensity perception was investigated using behavioral ratings of voice and music stimuli. Principal component analysis revealed distinct domain-specific structures [principal component 1 (PC1) 48%, PC2 11.2%), with the primary dimension for music intensity judgments explaining larger variance. Domain-specific analyses converged on a two-dimensional valence–arousal space, indicating shared structure yet differing variability. These findings advance theoretical understanding of how emotional intensity is organized across auditory domains of voice and music and highlight music as a particularly rich substrate for inter-individual differences in affective intensity perception.

• 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.

• Jon Marius Aareskjold-Drecker & Ragnhild Brøvig (2026). Hey Siri, Can You Write Me a Chipmunk Soul Track? A Snapshot of AI Tools Currently Used in Music Production. I Claus Sohn Andersen, Jan-Olof Gullö, Russ Hepworth-Sawyer, Mark Marrington, Justin Paterson & Rob Toulson (Red.), Innovation in Music: Current Research Perspectives. Routledge. ISSN 9781032757858. doi: 10.4324/9781003475675-9. Fulltekst i vitenarkiv Vis sammendrag

  This article provides an overview of current AI-assisted tools used in music composition and production and demonstrate their application through research-based music production. By highlighting the diverse range of applications and levels of automation offered by AI tools, we nuance the discourse focused on AI-generated tracks and challenge the assumption that using AI necessarily equates to cheating. We demonstrate how musicians can harness AI to support their artistry without overshadowing human expression, ensuring that creativity and integrity remain at the forefront

• Ragnhild Brøvig & Ivar Grydeland (2026). Love Your Latency: The Glitching Spatiotemporality of Telematic Music Performances. I Claus Sohn Andersen, Jan-Olof Gullö, Russ Hepworth-Sawyer, Mark Marrington, Justin Paterson & Rob Toulson (Red.), Innovation in Music: Innovative Creative Practice - 1st Edition. Routledge. ISSN 9781032757834. doi: https:/www.routledge.com/Innovation-in-Music-Innovative-Creative-Practice/SohnAndersen-Gullo-Hepworth-Sawyer-Marrington-Paterson-Toulson/p/book/9781032757834. Fulltekst i vitenarkiv Vis sammendrag

  Innovation in Music: Innovative Creative Practice is a groundbreaking collection, bringing together contributions from instructors, researchers, and professionals, focusing on the joy of discovery in the context of music production, music technology, and music performance. With chapters on augmented creativity, single tonality chord songwriting, musical instruments as live samplers and playing field recordings in music production, this book is recommended reading for students, researchers, and professionals looking for global insights into the fields of music production, business, and technology.

• Geir Paulsen, Juan Sebastian Cardenas, Rosa Nicoline Pham Alsgaard, Adel Baselizadeh, Md Zia Uddin & Jim Tørresen (2025). AI-Based User Gesture Recognition for Human-Robot Interaction Using Wrist Sensors. I Eisuke Kita (Red.), 2025 11th International Conference on Robotics and Artificial Intelligence (ICRAI), December 19-21, 2025, Nagoya, Japan. IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331590680. s. 161–165. doi: 10.1109/icrai68431.2025.11396715. Fulltekst i vitenarkiv Vis sammendrag

  Natural and intuitive interaction remains a central challenge in human-robot communication. This study presents a privacy-preserving gesture recognition framework that enables command-based interaction through simple hand and arm movements. Motion data are captured using a wrist-worn sensor, eliminating the need for cameras or other intrusive tracking systems. Data from ten participants performing seven gesture classes, including move forwards, move backward, move left-right, spin horizontally, spin vertically, wave, and move up-down are used to train and validate a hybrid Convolutional Long Short-Term Memory (CNN-LSTM) model. An additional non-command state is included to ensure the robot remains inactive when no gesture is detected. The proposed model achieves an overall recognition accuracy of approximately 95% across all gesture classes using cross-validation. This framework enhances the safety, intuitiveness, and fluidity of human-robot interaction and provides a robust foundation for gesture-based robot control and human activity recognition.

• Håkon Haustreis Tønnessen, Md Zia Uddin & Jim Tørresen (2025). PINE: Planning and Identifying Neural Network for Thinking Fast and Slow. I Eisuke Kita (Red.), 2025 11th International Conference on Robotics and Artificial Intelligence (ICRAI), December 19-21, 2025, Nagoya, Japan. IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331590680. s. 191–197. doi: 10.1109/icrai68431.2025.11396706. Fulltekst i vitenarkiv Vis sammendrag

  The human brain's unique ability to seamlessly switch between quick, effortless reactions and slow, deliberate thinking forms the foundation for the content of this paper. Humans effortlessly navigate complex tasks like walking, speaking, and driving, relying on heuristic responses to their environment. This natural division of labor allows humans to adapt quickly and efficiently, tackling both new challenges and familiar tasks. Drawing inspiration from this cognitive duality, we propose, in this paper, a machine-based analog that employs a two-level functionality mirroring human capabilities. The approach centers on a Reinforcement Learning agent that replicates human learning through trial and error. The thesis introduces the Planning and Identifying Neural Network (PINE), a framework that identifies tasks using a combination of inherited environmental information, observations, and human-readable task descriptors. PINE leverages a model-based Reinforcement Learning algorithm, streamlining agent complexity and significantly reducing solution-finding time compared to model-free algorithms. PINE operates in real-time, utilizing initial environmental observations and task descriptors to identify and categorize encountered tasks. For unknown tasks, PINE employs meta-learning, selecting the most similar known task to expedite the solution-finding process with fewer episodes. Despite the challenge of task identification without interaction or labels, PINE demonstrates high accuracy in recognizing previously solved tasks and providing reliable estimates for the most similar tasks. This innovative two-level learning model represents a significant step towards creating adaptive machines that efficiently handle both familiar and novel challenges.

• Letícia dos Santos, Jim Tørresen, Mariana Kolberg & Renan Maffei (2025). An Autonomous Floor Clearing Strategy to Tidy up Unknown Home Environments with a Mobile Manipulator Robot. I Emanuel Slawiñski, Cecilia García & Santiago Tosetti (Red.), 2025 IEEE International Conference on Advanced Robotics (ICAR). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331578107. doi: 10.1109/icar65334.2025.11338715. Fulltekst i vitenarkiv
• Hoang Minh Pham, Farzan Majeed Noori, Md Zia Uddin & Jim Tørresen (2025). Heart Rate Forecasting Using Ultra-Wideband Radar with Sequence-to-Sequence Model. I Luis Cruz, Sven Loncaric, Zhibo Chen, Armando J. Pinho, Jorge Batista & Marko Subasic (Red.), Proceedings of the 14th International Symposium on Image and Signal Processing and Analysis (ISPA), Coimbra, Portugal, October 29-31, 2025. IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331577551. s. 16–21. doi: 10.1109/ispa66905.2025.11259452. Fulltekst i vitenarkiv Vis sammendrag

  Heart dysfunction can be very dangerous and directly associated with the risk of fatality. Therefore, automatic heart rate monitoring is important for detecting a heart abnormality early and providing timely intervention. The development of advanced sensor technology allows continuous tracking of the heart rate, as well as providing more health-related data sources, which could further improve the forecasting performance. In this study, we investigate the use of recent heart rate values and Ultra-Wideband (UWB) data in the last 20s to predict the next 10s of heart rate. Data were collected from 20 participants performing different activities. We examine the forecasting by using only a heart rate sensor (uni-modality) and by using heart rate sensor and UWB together (multi-modality). Three levels of activity were included in the study: resting (rest), lying after doing exercises (lying-abnormal) and lying after full recovery (lying-normal). A multi-modality Sequence-to-Sequence (Seq2Seq) model has a 10-percent quantile losses of 5.20 for rest activity, 4.92 for lying-abnormal activity, and 4.24 for lying-normal activity. With the lowest loss, Seq2Seq outperforms Autoregressive Integrated Moving Average (ARIMA), Error Trend and Seasonality (ETS), Transformer and Temporal Fusion Transformer (TFT) in forecasting heart rate in the three activity levels. Our results point to a new direction in multimodal prediction of heart rate to assist healthcare, using deep learning approaches.

• Shunsuke Goka, Ørjan Strand, Jun Miura & Jim Tørresen (2025). Situation-Based Navigation Strategy Switching for Mobile Robots in Dynamic Pedestrian Environments. I Takahiro Uchiya, Ryota Nishimura & Tadaaki Ikehara (Red.), 2025 IEEE 14th Global Conference on Consumer Electronics (GCCE). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331524166. doi: 10.1109/gcce65946.2025.11275115. Fulltekst i vitenarkiv Vis sammendrag

  This paper proposes a method for adaptively switching navigation strategies based on a visual assessment of the current situation. Despite recent progress in motion planning and navigation methods, it is still challenging to adopt a single navigation method in various situations, which are determined by both the environment structure and pedestrian distribution and movements. A promising approach is to switch between multiple navigation strategies depending on the current situation. The proposed method adopts a visual situation classification, trained on an automatically labeled dataset, for choosing an appropriate local motion planner. Experimental comparison with fixed planners using a real robot demonstrates the superiority of our method in terms of both navigation efficiency and safety.

• Massimo Grassi, Francesca Talamini, Gianmarco Altoè, Elvira Brattico, Anne Caclin & Barbara Carretti [Vis alle 110 forfattere av denne artikkelen] (2025). Do Musicians Have Better Short-Term Memory Than Nonmusicians? A Multilab Study. Advances in Methods and Practices in Psychological Science (AMPPS). ISSN 2515-2459. 8(4). doi: 10.1177/25152459251379432. Fulltekst i vitenarkiv Vis sammendrag

  Musicians are often regarded as a positive example of brain plasticity and associated cognitive benefits. This emerges when experienced musicians (e.g., musicians with more than 10 years of music training and practice) are compared with nonmusicians. A frequently observed behavioral finding is a short-term memory advantage of the former over the latter. Although available meta-analysis reported that the effect size of this advantage is medium (Hedges’s g = 0.5), no literature study was adequately powered to estimate reliably an effect of such size. This multilab study has been ideated, realized, and conducted in lab by several groups that have been working on this topic. Our ultimate goal was to provide a community-driven shared and reliable estimate of the musicians’ short-term memory advantage (if any) and set a method and a standard for future studies in neuroscience and psychology comparing musicians and nonmusicians. Thirty-three research units recruited a total of 600 experienced musicians and 600 nonmusicians, a number that is sufficiently large to estimate a small effect size (Hedges’s g = 0.3) with a high statistical power (i.e., 95%). Subsequently, we measured the difference in short-term memory for musical, verbal, and visuospatial stimuli. We also looked at cognitive, personality, and socioeconomic factors that might mediate the difference. Musicians had better short-term memory than nonmusicians for musical, verbal, and visuospatial stimuli with an effect size of, respectively, Hedges’s g s = 1.08 (95% confidence interval [CI] = [0.94, 1.22]; large), 0.16 (95% CI = [0.02 0.30]; very small), and 0.28 (95% CI = [0.15, 0.41]; small). This work sets the basis for sound research practices in studies comparing musicians and nonmusicians and contributes to the ongoing debate on the possible cognitive benefits of musical training.

• Ege de Bruin, Kyrre Glette & Kai Olav Ellefsen (2025). Integrating Sample Inheritance into Bayesian Optimization for Evolutionary Robotics. I Olaf Witkowski, Alyssa M. Adams, Lana Sinapayen, Manuel Baltieri & Mahdi Khosravy (Red.), ALIFE 2025: Ciphers of Life: Proceedings of the Artificial Life Conference 2025. MIT Press. doi: 10.1162/ISAL.a.866. Fulltekst i vitenarkiv Vis sammendrag

  In evolutionary robotics, robot morphologies are designed automatically using evolutionary algorithms. This creates a body-brain optimization problem, where both morphology and control must be optimized together. A common approach is to include controller optimization for each morphology, but starting from scratch for every new body may require a high controller learning budget. We address this by using Bayesian optimization for controller optimization, exploiting its sample efficiency and strong exploration capabilities, and using sample inheritance as a form of Lamarckian inheritance. Under a deliberately low controller learning budget for each morphology, we investigate two types of sample inheritance: (1) transferring all the parent’s samples to the offspring to be used as prior without evaluating them, and (2) reevaluating the parent’s best samples on the offspring. Both are compared to a baseline without inheritance. Our results show that reevaluation performs best, with prior-based inheritance also outperforming no inheritance. Analysis reveals that while the learning budget is too low for a single morphology, generational inheritance compensates for this by accumulating learned adaptations across generations. Furthermore, inheritance mainly benefits offspring morphologies that are similar to their parents. Finally, we demonstrate the critical role of the environment, with more challenging environments resulting in more stable walking gaits. Our findings highlight that inheritance mechanisms can boost performance in evolutionary robotics without needing large learning budgets, offering an efficient path toward more capable robot design.

• Finn Upham & Fernando E. Rosas (2025). When and How the Audience Moves. Music & Science. 8, s. 1–24. doi: 10.1177/20592043251398280. Fulltekst i vitenarkiv Vis sammendrag

  Audience motion is a defining component of the face-to-face concert experience. Motion is also a common component of individual audience members’ reactions and actions to live performances. This article investigates patterns in chest-mounted accelerometer measurements from audience members at a chamber music concert experiment. The aim is to contextualize their behavior during music performance using a sequence of exploratory analyses. Combining insight from subjective reports of audience motion; musical, environmental, and biological frequencies; and similarity of motion timing with neighbors or more distant participants, both in-hall audience participants and live-stream viewers show two distinct music–motion patterns: either unobtrusive dynamic stilling or noticeable tempo-matched bouncing. Audience motion outside of music, during applause, speeches, or survey writing, also shows distinct average quantities of motion and degrees of shared information between seat neighbors, prompting a discussion on the constrained opportunities for audience action and social interaction at live classical concerts. Although exploratory, these extensive analyses provide a useful foundation for future work to further understand audience behaviors in concert music settings and beyond.

• Connor Spiech, Guilherme Schmidt Câmara, Julian Fuhrer & Penhune, Virginia (2025). 4/4 and more, rhythmic complexity more strongly predicts groove in common meters. Communications Psychology. 3. doi: 10.1038/s44271-025-00360-0. Fulltekst i vitenarkiv Vis sammendrag

  The pleasurable urge to move to music, termed “groove,” is thought to arise from the tension between top-down metric expectations or predictions and rhythmic complexity. Specifically, groove ratings are highest for moderately complex rhythms, balancing expectation and surprise. To test this, meter and rhythmic complexity need to be manipulated independently to assess their impact on groove. Thus, we compared Western listeners’ ratings for musical clips of varying rhythmic complexity composed in either the most common Western meter (4/4) or less common meters (e.g., 7/8). In several behavioral studies (Experiment 1, N = 143; Experiment 2, N = 120; Experiment 3, N = 120), we used Bayesian regression to show that groove is greatest for moderately complex rhythms, but only in 4/4. In non-4/4 meters, simpler rhythms elicited the greatest groove. This provides support for the theory that bottom-up rhythmic features interact with meter in a way that shapes the pleasurable urge to move to music.

• Emmanuel Coulon, Sacha Baum, Tomas Lenc, Rainer Polak & Sylvie Nozaradan (2025). Neural representation of the musical beat is facilitated but not contingent on the repetition of rhythmic patterns. Scientific Reports. 16(1). doi: 10.1038/s41598-025-30780-1. Fulltekst i vitenarkiv Vis sammendrag

  Music often entails perception of periodic beats which serve as internal temporal references to coordinate movements to music. Crucially, beat perception arises even in syncopated musical rhythms, which only weakly cue the beat periodicity. However, syncopated rhythms are often looped in music, suggesting that repetition of rhythmic patterns may facilitate beat perception by providing a periodic structure at a supra-second timescale. Here, we tested this hypothesis by recording separately electroencephalographic (EEG) and behavioral responses (finger tapping) while participants listened to different syncopated rhythmic sequences. These sequences either consisted of a repeated pattern (repetition of 4.8 and 9.6-s-long patterns) or were generated without repetition. Despite the degradation of pattern repetition, neural activity showed a periodized representation of the rhythmic input across conditions, at periodicities corresponding to those expressed in behavioral responses. However, this neural activity was further enhanced in the condition with shorter repeated patterns. Thus, pattern repetition was not necessary but strengthened the neural representation of the beat, demonstrating that supra-second periodicities in the rhythmic input further enhance sub-second periodicities in neural activity. These findings highlight the multiscale temporal processing of musical rhythm, and, more generally, complex rhythmic inputs involved in interpersonal interaction and communication.

• Pedro Pablo Lucas Bravo, Alexander Szorkovszky, Stefano Fasciani & Kyrre Glette (2025). HS-ims: A Platform for Human-Swarm Interactive Music Systems. I Kenji Tei & Franco Zambonelli (Red.), 2025 IEEE International Conference on Autonomic Computing and Self-Organizing Systems (ACSOS). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331502157. doi: 10.1109/ACSOS-C66519.2025.00067. Fulltekst i vitenarkiv Vis sammendrag

  This paper introduces HS-ims, an integrated virtual environment designed for developing real-time musical multiagent systems. It addresses the need for technological platforms that emphasize sound applications, flexible prototyping, and comprehensive data collection from these multi-agent systems. HS-ims offers a 3D virtual environment with built-in sound synthesis via binaural audio, an Open Sound Control (OSC) API implementation that is language-agnostic, and a data collection module. The platform operates with an External Controller managing multi-agent logic. We present relevant performance metrics and provide examples highlighting how HS-ims has proven valuable in research and education. This encourages further exploration and establishes it as a useful tool for music performance.

• Björn Thór Jónsson, Cagri Erdem, Stefano Fasciani & Kyrre Glette (2025). Live Coding the Lineage. I Anna Xambo Sedo & Michel Buffa (Red.), Proceedings of the International Web Audio Conference (WAC). IRCAM. doi: 10.5281/zenodo.17642435. Fulltekst i vitenarkiv Vis sammendrag

  This paper presents a web-based system for exploring and performing with sounds discovered through Quality Diver- sity evolutionary algorithms. Our system renders interactive phylogenetic trees of evolutionary sound discovery processes, transforming genealogical relationships into a performable interface—the “Harpsitree”—using trajectory-based interaction and automatic code generation. The core concept we explore is “algorithmic sketching,” where trajectory-based discovery through evolutionary structures progressively formalises into executable code, bridging visual exploration and textual live coding paradigms. This work contributes a novel performance interface as part of a larger research project investigating evolutionary computation for sound discovery, demonstrating how phylogenetic structures can reveal com- positional affordances through appropriate interaction design.

• Ragnhild Brøvig (2025). Stealing From or Facilitating Hard-Working Musicians? Remixers' Code of Honor. I Eduardo Antonio Navas, Owen Gallagher & xtine burrough (Red.), The Routledge Companion to Remix Studies - 2nd Edition - Eduardo Navas. Routledge. s. 401–411. doi: 10.4324/9781003402459-33. Fulltekst i vitenarkiv Vis sammendrag

  While terms like “theft” and “piracy” have often been used to describe sampling, equating it with criminal behavior overlooks the complexities of copyright law and the ethical perspectives of remix artists. Drawing on interviews with mashup producers, this chapter reveals their perspectives and ethical guidelines regarding sampling, emphasizing the distinction between plagiarism and acknowledged appropriation, where the latter serves as a form of artistic commentary rather than a mere exploitation of others’ work.

• 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.

• Emil Bernhardt (2025). Alltid et annet sted – estetisk forflytning og fantasiens plikt. I Henrik Holm & Anastasiya Alexeeva (Red.), Estetiske fag i samfunnet. Cappelen Damm Akademisk. ISSN 9788202868673. s. 13–32. doi: https:/cdforskning.no/cdf/catalog/book/261. Fulltekst i vitenarkiv Vis sammendrag

  This essay starts with the following observation: The aesthetic effect always happens somewhere else than we initially believe. I would argue that there is a displacement here, from an assertion that is manageable to an effect that remains uncontrollable. Furthermore I would argue that this displacement is aesthetically qualifying. What happens never merges with the motivation for what was done; what was done had a different aim than what happens. This perspective emphasises what we might call the event aspect of aesthetics, and our conception of what we can actually do is adjusted accordingly. I approach the idea of such a displacement in three ways: First, I briefly mention three examples from our contemporary cultural sphere. These are what has been called historically informed performance practice in classical music, then what has been called reality literature, and finally the painter Odd Nerdrum’s relationship to classical painting. Secondly, I examine the relationship between the idea of aesthetic displacement and modern aesthetics’ concept of aesthetic autonomy. Might the idea of aesthetic displacement be thought of as an example of such autonomy? Thirdly, I pursue the event and action perspective and ask whether a practical counterpart to aesthetic displacement is possible. Is there anything we can do that somehow corresponds to the fact that something happens? Here I try to develop a concept of a duty of imagination.

• Cédric Lenoir, Tomas Lenc, Rainer Polak & Sylvie Nozaradan (2025). Behavior-Relevant Periodized Neural Representation of Acoustic But Not Tactile Rhythm in Humans. Journal of Neuroscience. ISSN 0270-6474. 45(46), s. 1–14. doi: 10.1523/jneurosci.0664-25.2025. Fulltekst i vitenarkiv Vis sammendrag

  Music makes people move. This human propensity to coordinate movement with musical rhythm requires multiscale temporal integration, allowing fast sensory events composing rhythmic input to be mapped onto slower, behavior-relevant, internal templates such as periodic beats. Relatedly, beat perception has been shown to involve an enhanced representation of the beat periodicities in neural activity. However, the extent to which this ability to move to the beat and the related “periodized” neural representation are shared across the senses beyond audition remains unknown. Here, we addressed this question by recording separately the electroencephalographic (EEG) responses and finger tapping to a rhythm conveyed either through acoustic or tactile inputs in healthy volunteers of either sex. The EEG responses to the acoustic rhythm, spanning a low-frequency range (below 15 Hz), showed enhanced representation of the perceived periodic beat, compatible with behavior. In contrast, the EEG responses to the tactile rhythm, spanning a broader frequency range (up to 25 Hz), did not show significant beat-related periodization and yielded less stable tapping. Together, these findings suggest a preferential role of low-frequency neural activity in supporting neural representation of the beat. Most importantly, we show that this neural representation, as well as the ability to move to the beat, is not systematically shared across the senses. More generally, these results, highlighting multimodal differences in beat processing, reveal a process of multiscale temporal integration that allows the auditory system to go beyond mere tracking of onset timing and to support higher-level internal representation and motor entrainment to rhythm.

• Emil Engelstad Moghaddam, Md Zia Uddin, Jun Miura & Jim Tørresen (2025). A Robust Approach for Motion Skill-Based Scene Categorization. I Filippo Neri (Red.), Proceedings of the 2025 10th International Conference on Machine Learning Technologies (ICMLT), May 23-25, 2025, Helsinki, Finland. IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331536725. s. 482–487. doi: 10.1109/icmlt65785.2025.11193163. Fulltekst i vitenarkiv Vis sammendrag

  This paper introduces a novel method for autonomous navigation of mobile robots, combining functional scene categorization with tailored navigation strategies. Scene categorization is a computer vision task that identifies environmental types in images. Our approach establishes a taxonomy for scene categorization with the aim of utilization in mobile robots. We used a motion-skill dataset for training different neural networks. The dataset, comprising 19923 images with nine navigation strategy labels, demonstrated the feasibility of coupling environment recognition with neural networks. Three architectures (ResNet-50, BEiT-Base, ConvNeXt-Tiny) achieved notable performance, with ConvNeXt-Tiny leading with a weighted F1 score of 0.934. Pre-training on the SUN397 dataset significantly improved the model performance, emphasizing the importance of leveraging existing scene categorization datasets. This study highlights the synergy between scene categorization and functional scene categorization, providing insights for designing efficient, context-aware autonomous navigation systems.

• 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.

• Sigmund Johannes Ljosvoll Rolfsjord, Safia Fatima, Hugh Alexander von Arnim & Adel Baselizadeh (2025). Multimodal Transfer Learning for Privacy in Human Activity Recognition. I Barakova, Emilia, Allouch, Somaya Ben, Nakadai, Kazuhiro & Nejat, Goldie (Red.), Proceedings of the IEEE International Conference on Robot and Human Interactive Communication (RO-MAN) 2025. IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331587710. s. 15–20. doi: 10.1109/ro-man63969.2025.11217600. Fulltekst i vitenarkiv Vis sammendrag

  IEEE International Conference on Robot & Human Interactive Communication (RO-MAN) This conference is a leading forum where state-of-the-art innovative results, the latest developments as well as future perspectives relating to robot and human interactive communication are presented and discussed. The conference covers a wide range of topics related to Robot and Human Interactive Communication, involving theories, methodologies, technologies, empirical and experimental studies. Papers related to the study of robotic technology, psychology, cognitive science, artificial intelligence, human factors, ethics and policies, interaction-based robot design and other topics related to human-robot interaction are welcome.

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

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

• Frida Meijer, Diana Saplacan Lindblom, Adel Baselizadeh & Jim Tørresen (2025). "The wooden gripper was warmer and made the robot less threatening"– A Study on Perceived Safety based on Robot Gripper’s Visual and Tactile Properties. I Barakova, Emilia, Allouch, Somaya Ben, Nakadai, Kazuhiro & Nejat, Goldie (Red.), Proceedings of the IEEE International Conference on Robot and Human Interactive Communication (RO-MAN) 2025. IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331587710. s. 1091–1098. doi: https:/ieeexplore.ieee.org/document/11217775. Fulltekst i vitenarkiv Vis sammendrag

  An ageing population and the need of providing adequate care have led to developing robots to relieve healthcare workers and to assist individuals in their own homes. However, the successful integration of robots in such settings relies on more than just ensuring physical safety associated with physical risks (e.g., collisions): it also requires the user’s perceived safety – the users perceiving the robot as not doing any harm. This paper explores the potential influence of a robot grippers’ visual and tactile properties, such as materials and texture, on the users’ perceived safety and comfort of human-robot interaction. An initial survey was distributed to 53 participants, exploring five (n=5) robot gripper designs focusing on the robots’ gripper shape. One design shape was thereafter selected to be constructed as a cover to be placed over the parallel grippers of the TIAGo robot, by using 1) wood filament and 2) plastic. The covers were then tested in an experimental setting with 11 participants. The covers were attached to the TIAGo mobile manipulator robot and participants interacted with both of the designed gripper covers within a controlled laboratory environment. A questionnaire was distributed to all 11 experiment participants, at different stages of the interactions. The findings indicate that the material of the gripper influenced participants’ sense of comfort, familiarity, and perceived capabilities of the robot. The study suggests that perceived safety in human-robot interaction (HRI) is shaped not only by physical factors but also by how materials are personally and contextually interpreted. To better support safe and comfortable interactions, further research is needed to understand how material choices shape users’ perceived safety.

• Anna-Maria Christodoulou & Olivier Lartillot (2025). A Multimodal Dataset of Greek Folk Music. I Elsa De Luca (Red.), DLfM '25: Proceedings of the 12th International Conference on Digital Libraries for Musicology. Association for Computing Machinery (ACM). ISSN 9798400720833. s. 19–27. doi: https:/dl.acm.org/doi/10.1145/3748336.3748339. Fulltekst i vitenarkiv Vis sammendrag

  This paper presents a multimodal dataset of Greek folk dance music, focusing on syrtos and balos. Developed to support research in computational musicology, the dataset improves access to Greek musical heritage through manually transcribed MIDI scores, aligned lyrics, and rich metadata, all curated by expert musicologists. Through pattern analysis and feature extraction, we examine both shared melodic structures and unique characteristics of each dance, with some examples reflecting traces of oral transmission. While metadata accompanies the collection to support organization and context, our primary emphasis is on the musical and lyrical content. This work contributes to digital ethnomusicology by showing how multimodal datasets of folk music can inform both analytical research and cultural heritage preservation.

• Marieke van Otterdijk, Margot Neggers, Jim Torresen & Emilia Barakova (2025). Exploring Human Attribution of Emotional Intent to Motion Features in a Humanoid Robot. I Oskar Palinko, Leon Bodenhagen, John-John Cabibihan, Kerstin Fischer, Selma Šabanović, Katie Winkle, Laxmidhar Behera, Shuzhi Sam Ge, Dimitrios Chrysostomou, Wanyue Jiang & Hongsheng He (Red.), Social Robotics. Springer. ISSN 9789819635184. s. 323–323. doi: 10.1007/978-981-96-3519-1_29. Fulltekst i vitenarkiv
• 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.

• Ryuichi Maeda, Adel Baselizadeh, Shin Watanabe, Ryo Kurazume & Jim Tørresen (2025). Adaptive Tidying Robots: Learning from Interaction and Observation. I Tamim Asfour, Karinne Ramírez-Amaro, Joohyung Kim & Gordon Cheng (Red.), 2025 IEEE/SICE International Symposium on System Integration (SII). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331531614. s. 185–192. doi: 10.1109/sii59315.2025.10871003. Fulltekst i vitenarkiv
• Ege de Bruin, Kyrre Glette & Kai Olav Ellefsen (2025). Generational Replacement and Learning for High-Performing and Diverse Populations in Evolvable Robots. I Tayo Obafemi-Ajayi (Red.), 2025 IEEE Symposium on Computational Intelligence in Artificial Life and Cooperative Intelligent Systems. IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331508388. doi: 10.1109/alife-cis64968.2025.10979828. Fulltekst i vitenarkiv Vis sammendrag

  Evolutionary Robotics offers the possibility to design robots to solve a specific task automatically by optimizing their morphology and control together. However, this co-optimization of body and control is challenging, because controllers need some time to adapt to the evolving morphology - which may make it difficult for new and promising designs to enter the evolving population. A solution to this is to add intra-life learning, defined as an additional controller optimization loop, to each individual in the evolving population. A related problem is the lack of diversity often seen in evolving populations as evolution narrows the search down to a few promising designs too quickly. This problem can be mitigated by implementing full generational replacement, where offspring robots replace the whole population. This solution for increasing diversity usually comes at the cost of lower performance compared to using elitism. In this work, we show that combining such generational replacement with intra-life learning can increase diversity while retaining performance. We also highlight the importance of performance metrics when studying learning in morphologically evolving robots, showing that evaluating according to function evaluations versus according to generations of evolution can give different conclusions.

• Andrija Milojevic & Kyrre Glette (2025). Design and fabrication of soft locomotion robots based on spatial compliant mechanisms. Smart materials and structures (Print). ISSN 0964-1726. 34(7). doi: 10.1088/1361-665x/addf98. Fulltekst i vitenarkiv Vis sammendrag

  Soft robotics has emerged as a promising technology that holds great potential for various application areas. This is due to soft materials unique properties, including flexibility, safety, and shock absorption, among others. Despite many advancement in the field, the development of effective design methodologies and production techniques for soft robots remains a challenge. Although numerous robot prototypes have been proposed in recent years, their designs are often complex and difficult to produce. As such, there is a need for more efficient and unified design approaches that can facilitate the production of soft robots with desirable properties. In this paper, we propose a method for designing soft robots using elastic beams and spatial compliant mechanisms. The method is based on an evolutionary approach that enables the creation of designs with both high motion and force transmission ratios. Specifically, we focus on the development of locomotion mechanisms using a central linear actuator. Our approach involves the use of commonly available plastic materials and a 3D printer to manufacture the designs. We demonstrate the feasibility of our approach by presenting experimental results that show successful production and real-world operation. Overall, our findings suggest that the use of elastic beams and an evolutionary approach can facilitate the creation of soft robots with desirable locomotion properties, including fast locomotion up to 3.7 body lengths per second, locomotion with a payload, and underwater locomotion. This method has the potential to enable the development of more efficient and practical soft robots for various applications.

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

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

• Benedikte Wallace, Kyrre Glette & Alexander Szorkovszky (2025). How can we make robot dance expressive and responsive? A survey of methods and future directions. Frontiers in Computer Science. 7. doi: 10.3389/fcomp.2025.1575667. Fulltekst i vitenarkiv Vis sammendrag

  The development of robots that can dance like humans presents a complex challenge due to the disparate abilities involved and various aesthetic qualities that need to be achieved. This article reviews recent advances in robotics, artificial intelligence, and human-robot interaction toward enabling various aspects of realistic dance, and examines potential paths toward a fully embodied dancing agent. We begin by outlining the essential abilities required for a robot to perform human-like dance movements and the resulting aesthetic qualities, summarized under the terms expressiveness and responsiveness . Subsequently, we present a review of the current state-of-the-art in dance-related robot technology, highlighting notable achievements, limitations and trade-offs in existing systems. Our analysis covers various approaches, including traditional control systems, machine learning algorithms, and hybrid systems that aim to imbue robots with the capacity for responsive, expressive movement. Finally, we identify and discuss the critical gaps in current research and technology that need to be addressed for the full realization of realistic dancing robots. These include challenges in real-time motion planning, adaptive learning from human dancers, and morphology independence. By mapping out current methods and challenges, we aim to provide insights that may guide future innovations in creating more engaging, responsive, and expressive robotic systems.

• Emma Stensby Norstein, Kotaro Yasui, Takeshi Kano, Akio Ishiguro & Kyrre Glette (2025). Behaviour Diversity in a Walking and Climbing Centipede-Like Virtual Creature. Artificial Life. ISSN 1064-5462. 31(3), s. 321–344. doi: 10.1162/artl_a_00476. Fulltekst i vitenarkiv Vis sammendrag

  Robot controllers are often optimized for a single robot in a single environment. This approach proves brittle, as such a controller will often fail to produce sensible behavior for a new morphology or environment. In comparison, animal gaits are robust and versatile. By observing animals, and attempting to extract general principles of locomotion from their movement, we aim to design a single, decentralized controller applicable to diverse morphologies and environments. The controller implements the three components of (a) undulation, (b) peristalsis, and (c) leg motion, which we believe are the essential elements in most animal gaits. This work is a first step toward a general controller. Accordingly, the controller has been evaluated on a limited range of simulated centipede-like robot morphologies. The centipede is chosen as inspiration because it moves using both body contractions and legged locomotion. For a controller to work in qualitatively different settings, it must also be able to exhibit qualitatively different behaviors. We find that six different modes of locomotion emerge from our controller in response to environmental and morphological changes. We also find that different parts of the centipede model can exhibit different modes of locomotion, simultaneously, based on local morphological features. This controller can potentially aid in the design or evolution of robots, by quickly testing the potential of a morphology, or be used to get insights about underlying locomotion principles in the centipede.

• Marieke van Otterdijk, Bruno Laeng, Diana Saplacan Lindblom, Adel Baselizadeh & Jim Tørresen (2025). Seeing Meaning: How Congruent Robot Speech and Gestures Impact Human Intuitive Understanding of Robot Intentions. International Journal of Social Robotics. ISSN 1875-4791. 17, s. 2279–2292. doi: 10.1007/s12369-025-01271-0. Fulltekst i vitenarkiv Vis sammendrag

  Social communication between humans and robots has become critical as a result of the integration of robots into our daily lives as assistants. There is a need to explore how users intuitively understand the behavior of a robot and the impact of social context on that understanding. This study measures mental effort (as indexed by pupil response) and processing time, measured as the time taken to provide the correct answer, to investigate participants’ intuitive understanding of the robot’s gestures. Thirty-two participants participated in a charades game with a TIAGo robot, during which their eyes were tracked. Our findings show a relationship between mental effort and processing time, and indicate that robot gestures, congruence of speech and behavior, and the correctness of interpreting robot behavior influence intuitive understanding. Furthermore, we found that people focused on the robot’s limb movement. Using these findings, we can highlight what features contribute to the intuitive interaction with a robot, thus improving its efficiency.

• Yueh-Hsuan Weng, David Torabi, Jim Tørresen, Zonghao Dong & Yasuhisa Hirata (2025). Bridging Ethics and Reality: Integrating Thought Experiments and Empirical Insights in Robot Ethics. IEEE robotics & automation magazine. ISSN 1070-9932. 32(4), s. 84–90. doi: 10.1109/mra.2025.3584352. Fulltekst i vitenarkiv
• Sara D’Amario & Alexander Refsum Jensenius (2025). Cardiac Coherence among Musicians and Audiences During Orchestra Performances. Music & Science. 8, s. 1–15. doi: 10.1177/20592043251370977. Fulltekst i vitenarkiv Vis sammendrag

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

• Rainer Polak (2025). From Mali to Ghana: Pulsation Non-Isochrony in West African Percussion Music Genres. Analytical Approaches to African Music. 1(1). doi: https:/africa.iftawm.org/aaam-vol-1-iss-1/https:/africa.iftawm.org/aaam-vol-1-iss-1/. Fulltekst i vitenarkiv Vis sammendrag

  Most theories of African music emphasize the diversity of musical styles in Africa. Still, many also hold on to the notion of Africa being a uniform area with a high degree of stylistic coherence. This paper questions that latter notion by comparing different genres of West African percussion ensemble music from Mali and Ghana concerning the temporal structure of the fast pulse (metric beat division). On this basis, the paper asks whether it is empirically plausible to represent African music by identifying a singular ideal type of African rhythm. The main result is that uneven beat subdivision timing patterns (pulsation non-isochrony) and the superimposition (nesting) of binary and ternary subdivision layers play a substantial role in genres from Mali (Mande) and northern Ghana (Dagbamba) but not in southern and central Ghana (Ewe, Asante). This finding contradicts the widespread assumption that, in African rhythmic systems, the fast pulse in general is structurally isochronous and either binary or ternary. The paper concludes that African rhythmic systems exhibit a greater diversity than theories of African rhythm have indicated and that Africanist music research should emphasize this diversity more consistently than it has done so far.

• Francesca M. Barbero, Tomas Lenc, Nori Jacoby, Rainer Polak, Manuel Varlet & Sylvie Nozaradan (2025). Revealing rhythm categorization in human brain activity. Science Advances. 11(31). doi: 10.1126/sciadv.adu9838. Fulltekst i vitenarkiv Vis sammendrag

  Humans across cultures show an outstanding capacity to perceive, learn, and produce musical rhythms. These skills rely on mapping the infinite space of possible rhythmic sensory inputs onto a finite set of internal rhythm categories. What is the nature of the brain processes underlying rhythm categorization? We used electroencephalography to measure brain activity as human participants listened to a continuum of rhythmic sequences characterized by repeating patterns of two interonset intervals. Using frequency and representational similarity analyses, we show that brain activity does not merely track the temporal structure of rhythmic inputs but, instead, produces categorical representation of rhythms. These neural rhythm categories arise automatically, independent of any motor- or timing-related tasks, yet exhibit strong similarity with categorization observed in overt behavior. Together, these results and methodological advances constitute a critical step toward understanding the biological roots and diversity of musical behaviors across cultures.

• Bruno Laeng, Hüseyin Berke Canoluk & Shoaib Nabil (2025). Pupil adjustments to illusory perceptions of the light intensity of object surfaces. Frontiers in Human Neuroscience. 19. doi: 10.3389/fnhum.2025.1604114. Fulltekst i vitenarkiv Vis sammendrag

  Using infrared eye tracking, we show that when gaze is maintained at the center of one of two equiluminant surfaces of a Cornsweet stimulus, designed by Lotto and Purves, that illusorily appear to be lighter or darker than the other, the eye pupils constrict or dilate, respectively. That is, pupil sizes mirror the subjective experience of differential brightness. Previous studies of pupil responses to illusions of light had focused on illusions of unveridical light sources (e.g., patterns resembling the sun), whereas in the present study, we show pupil adjustments to the illusory brightness of object surfaces within images of realistic scenes. In two control experiments, we also showed that when the edge gradients of the Cornsweet stimulus, which do differ in luminance, were either occluded or presented alone in a black field, there were no differences in pupil diameters. We also conclude that adjustments to the perception of surface reflectance are unlikely to represent anticipatory responses to probable risks of temporary visual impairment (i.e., dazzle to sunlight) and, instead, indicate that a gradual process of disambiguation of the visual scene is sufficient to elicit adjustments to the apparent light intensity of an object’s surface.

• Olgerta Asko, Vegard Akselsson Volehaugen, Anaïs Llorens, Ingrid Funderud, Sabine Liliana Leske & Jugoslav Ivanovic [Vis alle 13 forfattere av denne artikkelen] (2025). Predictive encoding of auditory sequences in the human prefrontal cortex. bioRxiv - the preprint server for biology. doi: 10.1101/2025.08.22.671264. Fulltekst i vitenarkiv Vis sammendrag

  Abstract Humans extract regularities from the environment to form expectations that guide perception and optimize behavior. Although the prefrontal cortex (PFC) is central to this process, the relative contributions of orbitofrontal (OFC) and lateral PFC (LPFC) remain unclear. Here, we show that the brain tracks sound regularities in an auditory deviance detection task to predict when a target deviant will occur. Intracranial EEG in epilepsy patients reveals prefrontal engagement, with earlier expectancy-related modulation in OFC and later modulation in LPFC. Connectivity analyses indicate bidirectional and asymmetrical expectancy-related information exchange between the two areas, with a first lead by OFC, consistent with its role in initiating predictive encoding. Converging causal evidence shows that OFC lesions abolish sensitivity to expectancy, whereas LPFC lesions yield only modest effects not significantly different from controls. Together, these results provide electrophysiological and causal evidence for distinct, temporally organized contributions of prefrontal subregions to predictive processing. Significance Statement The human brain builds probabilistic associations capturing the dynamic environmental structure in a predictive manner. The ability to encode and deploy predictive information to anticipate future events relies on the prefrontal cortex (PFC). However, the specific roles of PFC subregions in this process remain unclear. Here, we provide converging electrophysiological and causal lesion evidence on the distinct involvement of the orbital and lateral PFC in generating anticipatory neural signals based on probabilistic auditory structure.

• Kristine Fjellkårstad Orten, Sander Elias Magnussen Helgesen, Bihui Chen, Adel Baselizadeh, Jim Tørresen & Henrik Herrebrøden (2025). Can machine learning distinguish between elite and non-elite rowers? International Journal of Computer Science in Sport. 24(1), s. 118–132. doi: 10.2478/ijcss-2025-0007. Fulltekst i vitenarkiv Vis sammendrag

  A major challenge for sports coaches and analysts is to identify critical elements of athletes’ movement patterns. A potentially relevant tool is machine learning, useful because of its ability to extract patterns from data. In the current study, we employed various deep learning frameworks, including Gated Recurrent Unit networks (GRUs), Convolutional Neural Networks (CNNs), and Multi-Layer Perceptrons (MLPs), to search for differences between elite and non-elite rowers using a rowing ergometer. The MLP model achieved an accuracy of 100% when using all input features, indicating that the problem is suitable as a machine learning task. Our research focused on using a limited amount of the data. Despite using fewer input features, the models managed to classify skill levels with reasonable precision, reaching a best performance of 77% accuracy for the model combining GRU and CNN architectures, 78% for the GRU model, and 94% for the MLP model. From a rowing perspective, the results suggest that movement coordination between upper and lower body limbs, as represented by different feature combinations, is informative in distinguishing between elites and non-elites. The current work suggests that machine learning may supplement human experts in sports coaching, analytics, and talent identification.

• Oliver Miles, Adrian Hazzard, Solomiya Moroz, Laura Bishop & Craig Vear (2025). Meaningful interactions in human-AI musicking. 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. 58–69. doi: 10.1145/3771594.3771600. Fulltekst i vitenarkiv Vis sammendrag

  In this paper we discuss our latest iteration of RAMI (the Robotic Arm for Musicking Inclusively) as prototype digital score. We deploy RAMI as interactive technology for the purpose of improvisation ensemble work, documenting the narrative journey of a single elite musician–M–as they engage with its nascent qualities over three extended workshop sessions. This study builds in part on the musical togetherness model of human-human interaction [4], and necessarily draws adjacent concepts in robotics, human computer interaction (HCI), and digital score. Recording musicking interactions with RAMI, we elicit and report on M’s thematic perceptions of instances of: familiarization; engagement strategy; decision making; connection, agency, and ensemble; assertions of schemas of RAMI; and moments of enjoying RAMI. Beyond the rich, narrative insight that these six themes offer, we critically assess these as variably (un)certain in nature; as particularly certain when asserting two schemas–RAMI as a dancer, and RAMI as a score, and as indicative of an underlying continuum of musician perception that recognises RAMI as an AI tool for musicking, on the one hand, and on the other hand, as an AI agent for embodied collaboration.

• Laura Bishop, Elpida Hadjidaki-Marder, Sarunas Ledas & Gunnar Liestøl (2025). Motion capture for augmented reality storytelling in archaeology and cultural heritage dissemination: Simulating an animal sacrifice at Ancient Phalasarna. I Timothy Jung, M. Claudia tom Dieck, Seok Chan Jeong, Sung-Hee Kim, Daniel Sahl & S. J. Kim (Red.), XR and Metaverse: Proceedings of the 9th International XR-Metaverse Conference 2024, Busan, South Korea. Springer. ISSN 9783031779749. s. 209–221. doi: 10.1007/978-3-031-77975-6_16. Fulltekst i vitenarkiv
• Olivier Lartillot, Dana Swarbrick, Finn Upham & Carlos Eduardo Cancino-Chacón (2025). Video Visualization of a String Quartet Performance of a Bach Fugue: Design and Subjective Evaluation. Music & Science. 8. doi: 10.1177/20592043251352299. Fulltekst i vitenarkiv Vis sammendrag

  Visualizing music—through music notation, analytical representations, or music videos—might potentially boost the appreciation of music in all its richness. The purpose of this study was to design and test a visualization strategy aimed at explicating to a large audience with diverse backgrounds—especially novices—the multifaceted beauty of the final Contrapunctus in J.S. Bach's The Art of Fugue, performed by the Danish String Quartet. At the surface level of the musical structure, the rich fluctuation of pitch shaped by each musician was depicted in the form of undulating pitch curves. At a deeper structural level, the repetition of pitch curves, distinctive of fugues, was highlighted through vertical alignment—inspired by a technique called paradigmatic analysis, originating from anthropology and music semiology. The visualization was initially prototyped in the form of a real-time technology as part of the MusicLab Copenhagen research concert. The concert audience focused on the performance itself, and did not pay much attention to, nor appreciate, the visualization. To evaluate more thoroughly the potential of the visualization, participants with varied musical expertise and taste were invited to listen to a recorded performance of the piece and watch the visualization on their own computer. A large majority reported that they felt they understood the visualization, around half of them felt that it enhanced their musical understanding, and a small group felt that it helped them to better appreciate the music.

• Bruno Laeng, Morten Øvervoll & Ece Aybike Ala-Pettersen (2025). Original art paintings are chosen over their “color-rotated” versions because of changed color contrast. Perception. ISSN 0301-0066. doi: 10.1177/03010066251345994. Fulltekst i vitenarkiv Vis sammendrag

  Rotating colors (digitally within CIELAB color space) of an artistic painting is thought to keep constant all aspects of the painting except the hues. When observers are asked to select the preferred image among color-rotated images the “original” version of the artwork is typically selected, while the hue transformed images are rejected. We hypothesized that color contrast may be reduced after such digital rotations, which was supported by feature analyses. We also found that when the original painting or rotations were viewed individually, they did not differ in both hedonic ratings and pupil responses, though observers selected the original paintings in a forced-choice test. Hence, we generated versions of the paintings where color contrast was either enhanced or reduced and forced-choice experiments (online or in the lab) confirmed that the higher color contrast image within a pair was preferred (regardless of whether the image was an original painting or not). Eye tracking revealed that images with relatively higher contrast captured attention. We conclude that previous reports of a preference for the original artworks may have reflected reductions in color contrast of the color-rotated alternatives. These findings point to color contrast as a potential esthetic primitive feature but at the same time cast some doubts on relying exclusively on the results of forced choice tests for revealing genuine esthetic preferences.

• Heidi Marie Umbach Hansen, Espen Røysamb, Olav Mandt Vassend, Nikolai Olavi Czajkowski, Tor Endestad & Jonna Katariina Vuoskoski [Vis alle 8 forfattere av denne artikkelen] (2025). Dimensions of music use motivations: Genetic and environmental underpinnings, and associations with Big Five and Empathy traits. PLOS ONE. 20(8). doi: 10.1371/journal.pone.0329808. Fulltekst i vitenarkiv Vis sammendrag

  People differ in their motivation for seeking musical experiences and these differences appear to be partially attributable to their personality. However, little is known about the role of genetic and environmental factors in shaping individual differences in motivations for music use and their shared etiology with personality. This study investigated, using the classical twin design in a sample of 2611 Norwegian twins, the genetic and environmental architecture of four dimensions of motivations for music use (musical transcendence, emotion regulation, social bonding, and musical identity and expression). We also examined their phenotypic associations, as well as genetic and environmental overlap with general personality traits, including the Big Five and Trait Empathy facets. Additive genetic and unique environmental effects largely accounted for the variation in the four dimensions (heritability 38%−52%, mean = 45%), though univariate analyses of the social bonding dimension indicated common environmental influences for this specific subscale. In line with previous studies, trait-congruent phenotypic associations were found between specific personality traits and music use motives, including facets of negative emotionality and musical emotion regulation. Other facets – particularly aesthetic sensitivity (open-mindedness) and fantasy (trait empathy) – were closely tied to all dimensions. Multivariate biometric modeling of the links between personality traits and motivations for music use revealed that these relationships were primarily driven by correlated genetic factors, with personality traits accounting for 40%−66% of the total genetic variance and 5%−17% of the total environmental variance in the music use motivation dimensions. These findings shed new light on the etiology of dispositional music use and provide a comprehensive baseline for future investigations of associations with personality, mental health, and well-being.

• Tomas Lenc, Cédric Lenoir, Peter Keller, Rainer Polak, Dounia Mulders & Sylvie Nozaradan (2025). Measuring self-similarity in empirical signals to understand musical beat perception. European Journal of Neuroscience. ISSN 0953-816X. 61(2). doi: 10.1111/ejn.16637. Fulltekst i vitenarkiv Vis sammendrag

  Experiencing music often entails the perception of a periodic beat. Despite being a widespread phenomenon across cultures, the nature and neural underpinnings of beat perception remain largely unknown. In the last decade, there has been a growing interest in developing methods to probe these processes, particularly to measure the extent to which beat-related information is contained in behavioral and neural responses. Here, we propose a theoretical framework and practical implementation of an analytic approach to capture beat-related periodicity in empirical signals using frequency-tagging. We highlight its sensitivity in measuring the extent to which the periodicity of a perceived beat is represented in a range of continuous time-varying signals with minimal assumptions. We also discuss a limitation of this approach with respect to its specificity when restricted to measuring beat-related periodicity only from the magnitude spectrum of a signal and introduce a novel extension of the approach based on autocorrelation to overcome this issue. We test the new autocorrelation-based method using simulated signals and by re-analyzing previously published data and show how it can be used to process measurements of brain activity as captured with surface EEG in adults and infants in response to rhythmic inputs. Taken together, the theoretical framework and related methodological advances confirm and elaborate the frequency-tagging approach as a promising window into the processes underlying beat perception and, more generally, temporally coordinated behaviors.

• 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.

• Pedro Pablo Lucas Bravo, Stefano Fasciani, Alexander Szorkovszky & Kyrre Glette (2025). An Interactive Self-Assembly Swarm Music System in Extended Reality. 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. 255–269. doi: 10.1145/3771594.3771620. Fulltekst i vitenarkiv Vis sammendrag

  This paper explores the music-making capabilities of a swarm intelligence type of algorithm known as self-assembly in an interactive context using Extended Reality (XR) technologies. We describe the modifications made to a fully autonomous version of this algorithm, which we proposed in a previous work, allowing us to adapt it for user-interactive music. Moreover, we present the design of an XR system that supports this adaptation, modelled as a human-swarm interactive music system, which is implemented in the Meta Quest 3 headset. An auto-ethnographic study was conducted to discover the affordances of the system in a music improvisation session. The study, supported by empirical measurements collected during the session, enables a comparison between the interactive version and the original autonomous offline version, providing valuable insights into how a user can influence the swarm's behaviour. The results are used to discuss the music performance possibilities and future directions for this type of interactive music system.

• 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.

• Heidi Marie Umbach Hansen, Bruno Laeng, Olav Mandt Vassend, Nikolai Olavi Czajkowski, Tor Endestad & Anne Danielsen [Vis alle 7 forfattere av denne artikkelen] (2025). The role of Big Five personality domains and facets in musical sensibility: a twin study. Scientific Reports. 15(1). doi: 10.1038/s41598-025-95661-z. Fulltekst i vitenarkiv Vis sammendrag

  Musical sensibility can be understood as a propensity to be emotionally and aesthetically engaged by music and may constitute a key feature of a multidimensional definition of musicality. Yet, the nature of this construct is only just beginning to be understood. In a sample of adult Norwegian twins (N = 2592), we aimed to establish whether interindividual variability in musical sensibility may partially be attributable to personality, both in terms of the Big Five personality domains and their lower-order facets, as well as the role of genes and environments. Phenotypic analyses demonstrated that the personality domains of open-mindedness (and the facet aesthetic sensitivity in particular), agreeableness (and the facet compassion), and negative emotionality were all significantly associated with and predictive of musical sensibility. Multivariate biometric twin models further revealed that these relations were driven mainly by genetic influences, accounting for 50–100% of the observed covariance, whereas non-shared environmental influences accounted for the rest. Moreover, genetic correlations of musical sensibility with personality traits were substantial, and particularly strong for open-mindedness, pointing to considerable overlap in the biological mechanisms underlying the two traits. These findings situate musical sensibility within a broader network of psychological dispositions, possibly linked together via common affective systems.

• Simon Høffding, Remy Haswell-Martin & Nanette Nielsen (2025). Absorbed Concert Listening: A Qualitative, Phenomenological Inquiry. Philosophies. 10(2). doi: 10.3390/philosophies10020038. Fulltekst i vitenarkiv Vis sammendrag

  This paper pursues a phenomenological investigation of the nature of absorbed listening in Western, classical music concert audiences. This investigation is based on a data-set of 16 in-depth phenomenological interviews with audience members from three classical concerts with the Stavanger Symphony Orchestra and the Norwegian Radio Orchestra conducted in spring 2024. We identify seven major themes, namely “sharedness”, “attention”, “spontaneous thought/mental imagery”, “modes of listening” “absorption”, “distraction”, and “strong emotional experiences”, and interpret these in light of relevant ideas in phenomenology, cognitive psychology, and ecological aesthetics, more precisely “passive synthesis” from Husserl, the “sense of agency” from Gallagher, and “mind surfing” from Høffding, Nielsen, and Laeng. We show that, like absorbed musical performance, absorbed musical listening comes in many shapes and can be grasped as instantiating variations of passive synthesis, the sense of agency, and mind surfing. We conclude that absorbed listening circles around a kind of paradox of passivity, characterised by a sense of loss of egoic control arising from particular forms of invested, intensive perceptual, cognitive, and affective engagement.

• Remy Haswell-Martin, Finn Upham, Simon Høffding & Nanette Nielsen (2025). Embodied, Exploratory Listening in the Concert Hall. Behavioral Sciences. 15(5). doi: 10.3390/bs15050710. Fulltekst i vitenarkiv Vis sammendrag

  Live music can afford novel, transformative aesthetic interactions for individual audience members. Nevertheless, concert research tends to focus on shared experience. In this paper we offer an account of exploratory listening that foregrounds embodied–enactive engagement and affective resonance through close analysis of the music, physiological measurements, and reflections from interviews. Our analysis centres on data collected from two musician audience members about one specific piece out of a larger interdisciplinary project involving concerts given by the Stavanger Symphony Orchestra and The Norwegian Radio Orchestra in March and June of 2024. Through the combination of in-depth phenomenological interviews with musically skilled audience members and measurements of breathing and body motion, we explore aesthetic enactment beyond common patterns of ‘synchronised’ response, focusing on audience members’ experiences of Harald Sæverud’s ‘Kjempeviseslåtten’ (The Ballad of Revolt) (1943). We find forms of absorbed, both imaginative and embodied involvement, of listeners enacting meaningful contact with, and pathways through, the music that in some ways corroborate crowd patterns but also reveal exploratory expertise and idiosyncratic affective orientations.

• Sabine Liliana Leske, Tor Endestad, Vegard Akselsson Volehaugen, Maja Dyhre Foldal, Alejandro Omar Blenkmann & Anne-Kristin Solbakk [Vis alle 7 forfattere av denne artikkelen] (2025). Beta oscillations predict the envelope sharpness in a rhythmic beat sequence. Scientific Reports. 15(1). doi: 10.1038/s41598-025-86895-y. Fulltekst i vitenarkiv Vis sammendrag

  Periodic sensory inputs entrain oscillatory brain activity, reflecting a neural mechanism that might be fundamental to temporal prediction and perception. Most environmental rhythms and patterns in human behavior, such as walking, dancing, and speech do not, however, display strict isochrony but are instead quasi-periodic. Research has shown that neural tracking of speech is driven by modulations of the amplitude envelope, especially via sharp acoustic edges, which serve as prominent temporal landmarks. In the same vein, research on rhythm processing in music supports the notion that perceptual timing precision varies systematically with the sharpness of acoustic onset edges, conceptualized in the beat bin hypothesis. Increased envelope sharpness induces increased precision in localizing a sound in time. Despite this tight relationship between envelope shape and temporal processing, it is currently unknown how the brain uses predictive information about envelope features to optimize temporal perception. With the current EEG study, we show that the predicted sharpness of the amplitude envelope is encoded by pre-target neural activity in the beta band (15–25 Hz), and has an impact on the temporal perception of target sounds. We used probabilistic sound cues in a timing judgment task to inform participants about the sharpness of the amplitude envelope of an upcoming target sound embedded in a beat sequence. The predictive information about the envelope shape modulated task performance and pre-target beta power. Interestingly, these conditional beta-power modulations correlated positively with behavioral performance in the timing judgment task and with perceptual temporal precision in a click-alignment task. This study provides new insight into the neural processes underlying prediction of the sharpness of the amplitude envelope during beat perception, which modulate the temporal perception of sounds. This finding could reflect a process that is involved in temporal prediction, exerting top-down control on neural entrainment via the prediction of acoustic edges in the auditory stream.

• Jatin Agarwala, Sriharsha M.S.S., Jonna Katariina Vuoskoski & Vinoo Alluri (2025). Empathy and Music Preferences: Exploring Music Listening Behaviours in Naturalistic Settings. Proceedings of the Annual Meeting of the Cognitive Science Society. 47. Fulltekst i vitenarkiv Vis sammendrag

  Empathy has been linked to music preferences in controlled laboratory settings, but naturalistic settings like music streaming platforms remain unexplored. This study investigates how trait empathy influences music preferences and sequential listening behaviors in real-world settings. To this end, we collected and analyzed one-year Spotify listening histories of 290 Indian university students alongside their trait empathy scores, measured using the IRI scale. Our results reveal that individuals who score high on the IRI subscales of Empathic Concern, Fantasy, and Perspective Taking prefer sad music. Moreover, those scoring high on Empathic Concern or Perspective Taking were found to be more likely to transition from happy to sad music. These findings partially align with previous lab-based research, specifically for the subscales of Empathic Concern and Fantasy, while providing novel insights into the relations between the Perspective Taking subscale and music consumption. The study also provides novel insights into sequential listening behaviours, thus, strengthening the evidence that empathy shapes musical preferences and listening behaviors across diverse contexts.

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

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

• Julian Fuhrer, Kyrre Glette, Jugoslav Ivanovic, Pål Gunnar Larsson, Tristan Bekinschtein & Silvia Kochen [Vis alle 11 forfattere av denne artikkelen] (2025). Direct brain recordings reveal implicit encoding of structure in random auditory streams. Scientific Reports. 15. doi: 10.1038/s41598-025-98865-5. Fulltekst i vitenarkiv Vis sammendrag

  The brain excels at processing sensory input, even in rich or chaotic environments. Mounting evidence attributes this to sophisticated internal models of the environment that draw on statistical structures in the unfolding sensory input. Understanding how and where such modeling proceeds is a core question in statistical learning and predictive processing. In this context, we address the role of transitional probabilities as an implicit structure supporting the encoding of the temporal structure of a random auditory stream. Leveraging information-theoretical principles and the high spatiotemporal resolution of intracranial electroencephalography, we analyzed the trial-by-trial high-frequency activity representation of transitional probabilities. This unique approach enabled us to demonstrate how the brain automatically and continuously encodes structure in random stimuli and revealed the involvement of a network outside of the auditory system, including hippocampal, frontal, and temporal regions. Our work provides a comprehensive picture of the neural correlates of automatic encoding of implicit structure that can be the crucial substrate for the swift detection of patterns and unexpected events in the environment.

• Weria Khaksar, Diana Saplacan, Lee Andrew Bygrave & Jim Tørresen (2025). Robotics in Elderly Healthcare: A Qualitative Analysis of 20 Recent European Research Projects. ACM Transactions on Human-Robot Interaction. 14(2). doi: 10.1145/3711936. Fulltekst i vitenarkiv
• Jonna Katariina Vuoskoski (2025). The social dimension of music listening: Empathy and the experience of feeling moved. I Katerina Bantinaki, Efi Kyprianidou & Fotini Vassiliou (Red.), Empathy and the Aesthetic Mind: Perspectives on Fiction and Beyond. Bloomsbury Academic. ISSN 9781350409552. s. 199–212. doi: 10.5040/9781350409552.0024. Fulltekst i vitenarkiv Vis sammendrag

  Empathy is a fundamental human capacity that enables us to understand and feel the mental and affective states of others. This capacity is not only restricted to interactions with other humans, but also underpins our engagement with – and responses to – music. This chapter situates the psychological phenomenon of empathy in the context of music listening, and reviews existing empirical evidence on empathy’s role in emotional, neural, and motor responses to music. Multiple strands of evidence suggest that empathy and social cognition play an important role in the affective and pleasurable responses evoked by music. Our social brains resonate with the signs of agency and emotion conveyed by music, eliciting social emotions such as compassion and feeling moved. The social rewards of music listening are grounded in empathic processes, and are able to explain phenomena such as the paradoxical enjoyment of music-induced sadness.

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

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

• Anne Danielsen, Thea Sørli Paulsrud & Justin London (2025). The influence of vocal expertise on the perception of microrhythm in song and speech. Attention, Perception & Psychophysics. ISSN 1943-3921. 87, s. 1750–1770. doi: 10.3758/s13414-025-03057-y. Fulltekst i vitenarkiv Vis sammendrag

  Musical expertise affects the perception of the temporal location of a musical sound, often to a significant degree. In a study involving jazz musicians, electronic dance music (EDM) music producers, and Norwegian folk musicians, Danielsen et al. Attention, Perception & Psychophysics, 84, 599–615, (2022) found significant between-group differences regarding the mean location as well as the variability around that mean for a set of control and genre-specific musical sounds. The present study extends these findings to singers who are experts in jazz versus classical music genres. In two experiments participants were presented with sung (Exp. 1) and sung and spoken (Exp. 2) syllables. In both the task was to synchronize either taps or a click track with a looped target sound. In both experiments, we found that classical participants tended to place the mean location later (relative to the acoustic onset) than jazz participants, and likewise had greater variability. Interestingly, and contra to our hypothesis, this between-group difference persisted even when the stimuli were spoken rather than sung. The current study gives further insights into how musical expertise impacts the low-level processing of musical sounds and provides a window into the interaction between top-down and bottom-up aspects of music and auditory perception more generally. In addition, it provides insight into how musicians approach musical and quasi-musical tasks, as well as the way they perceive the acoustic aspects of sound both as a musical object in its own right as well as a cue for perception-action coupling with their fellow musicians.

• 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.

• Marieke van Otterdijk, Dongho Kwak, Adel Baselizadeh, Diana Saplacan Lindblom & Jim Torresen (2024). Age-Old Gesture: Analyzing the Intuitive Responses to Robot Handshakes Among Seniors and Young Adults. I Antonio Sgorbissa & Lei Wei (Red.), 2024 33rd IEEE International Conference on Robot and Human Interactive Communication (ROMAN). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798350375022. doi: 10.1109/ro-man60168.2024.10731393. Fulltekst i vitenarkiv
• Adel Baselizadeh, Diana Saplacan Lindblom, Weria Khaksar, Md Zia Uddin & Jim Tørresen (2024). Comparative Analysis of Vision-Based Sensors for Human Monitoring in Care Robots: Exploring the Utility-Privacy Trade-off. I Antonio Sgorbissa & Lei Wei (Red.), 2024 33rd IEEE International Conference on Robot and Human Interactive Communication (ROMAN). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798350375022. s. 1794–1801. doi: 10.1109/ro-man60168.2024.10731223. Fulltekst i vitenarkiv
• Shin Watanabe, Geir Horn, Jim Tørresen & Kai Olav Ellefsen (2024). Improving Robot Skills by Integrating Task and Motion Planning with Learning from Demonstration. I Genci Capi (Red.), 2024 6th International Conference on Control and Robotics. IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798331518158. doi: 10.1109/iccr64365.2024.10927043. Fulltekst i vitenarkiv
• Jan Weber, Anne-Kristin Solbakk, Alejandro Omar Blenkmann, Llorens Anais, Ingrid Funderud & Sabine Liliana Leske [Vis alle 11 forfattere av denne artikkelen] (2024). Ramping dynamics and theta oscillations reflect dissociable signatures during rule-guided human behavior. Nature Communications. 15(1). doi: 10.1038/s41467-023-44571-7. Fulltekst i vitenarkiv
• Benedikte Wallace, Kristian Nymoen, Jim Tørresen & Charles Patrick Martin (2024). Breaking from realism: exploring the potential of glitch in AI-generated dance. Digital Creativity. ISSN 1462-6268. 35, s. 125–142. doi: 10.1080/14626268.2024.2327006. Fulltekst i vitenarkiv Vis sammendrag

  What role does deviation from realism play in the potential for generative artificial intelligence (AI) as a creative tool? A deep case-study was performed to explore interactions with AI-generated dance sequences as an inspiration source in dance composition and improvization. We present a simple interface created in collaboration with an experienced dancer for browsing AI-generated dance. By including glitches, the physics-breaking mistakes often encountered in AI-generated artefacts, we examine their affordances and possible use cases through sessions with the dancer. Through a process of reflexive thematic analysis, we identified that generative AI can engage a dancer through surprise, inspiring a transformation from abstract to physical movements. Our work challenges existing notions of the importance of realism in dance generation models, exemplifies the importance of close collaboration with practitioners in evaluating AI-generated artefacts and proposes glitch as a potential use case for dance ideation as it encourages dancers to embody unfamiliar movement qualities and break from ingrained patterns.

• Connor Spiech, Anne Danielsen, Bruno Laeng & Tor Endestad (2024). Oscillatory attention in groove. Cortex. ISSN 0010-9452. 174, s. 137–148. doi: 10.1016/j.cortex.2024.02.013. Fulltekst i vitenarkiv Vis sammendrag

  Attention is not constant but rather fluctuates over time and these attentional fluctuations may prioritize the processing of certain events over others. In music listening, the pleasurable urge to move to music (termed ‘groove’ by music psychologists) offers a particularly convenient case study of oscillatory attention because it engenders synchronous and oscillatory movements which also vary predictably with stimulus complexity. In this study, we simultaneously recorded pupillometry and scalp electroencephalography (EEG) from participants while they listened to drumbeats of varying complexity that they rated in terms of groove afterwards. Using the intertrial phase coherence of the beat frequency, we found that while subjects were listening, their pupil activity became entrained to the beat of the drumbeats and this entrained attention persisted in the EEG even as subjects imagined the drumbeats continuing through subsequent silent periods. This entrainment in both the pupillometry and EEG worsened with inc

• Pedro Pablo Lucas Bravo, Alexander Szorkovszky, Stefano Fasciani & Kyrre Glette (2024). Self-Assembly and Synchronization: Crafting Music with Multi-Agent Embodied Oscillators. I IEEE IEEE (Red.), 2024 IEEE International Conference on Autonomic Computing and Self-Organizing Systems (ACSOS). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798350363876. s. 145–150. doi: 10.1109/ACSOS61780.2024.00034. Fulltekst i vitenarkiv Vis sammendrag

  This paper proposes a self-assembly algorithm that generates rhythmic music. It uses multiple pulsed oscillators embedded in cube-shaped agents in a virtual 3D space. When these units connect with each other, their oscillators synchronize, triggering regular sound events that produce musical notes whose sound dynamics change based on the size of the structures formed. This study examines the synchronization time of these oscillators and the emergent properties of the structures formed during the algorithm’s execution. Moreover, the resulting sound, determined by multiple interactions among agents, is analyzed in the time and frequency domains from its signal. The results show that the synchronization time slightly increases when more agents participate, although with high variability. Also, a quasi-regular pattern of increase and decrease in the number of structures over time is observed. Additionally, the signal analysis illustrates the effect of the self-assembly strategy in terms of rhythmical patterns and sound energy over time. We discuss these results and the potential applications of this multi-agent approach in the sound and music field.

• 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.

• Mari Romarheim Haugen (2024). Musical Meter as Shape: An Embodied Perspective on Metrical Trajectories and Curves. I Alexander Refsum Jensenius (Red.), Sonic Design: Explorations Between Art and Science. Springer Nature. ISSN 9783031578922. s. 37–48. doi: 10.1007/978-3-031-57892-2_3. Fulltekst i vitenarkiv Vis sammendrag

  The perception of musical rhythm includes not only the sonic rhythm but also the endogenous reference structures, such as meter. Musical meter is often described and understood as points in time or durations between such points. In this chapter, I argue that musical meter also has a shape. I propose that we perceive and make sense of musical meter based on our previous musical experiences involving meter-related bodily motion. In other words, the meter-related motion is integral to the perceived meter—they are the same. Meter thus has a shape that relates to the embodied sensations of these movements. Also crucial is the notion that musical meter is conditioned by musical culture. This perspective on meter as shape is highly influenced by Godøy’s motor-mimetic perspective on music perception and musical shape cognition and concurs with the multimodal approach to sonic design that acknowledges motion as intrinsic to music performance and perception.

• 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.

• Alejandro Omar Blenkmann, Sabine Liliana Leske, Llorens Anais, Jack J. Lin, Edward F. Chang & Peter Brunner [Vis alle 12 forfattere av denne artikkelen] (2024). Anatomical registration of intracranial electrodes. Robust model-based localization and deformable smooth brain-shift compensation methods. Journal of Neuroscience Methods. ISSN 0165-0270. 404. doi: 10.1016/j.jneumeth.2024.110056. Fulltekst i vitenarkiv
• Nori Jacoby, Rainer Polak, Jessica A. Grahn, Daniel J. Cameron, Kyung Myun Lee & Ricardo Godoy [Vis alle 34 forfattere av denne artikkelen] (2024). Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries. Nature Human Behaviour. s. 846–877. doi: 10.1038/s41562-023-01800-9. Fulltekst i vitenarkiv Vis sammendrag

  Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random ‘seed’ rhythms; their reproductions were fed back as the stimulus (as in the game of ‘telephone’), such that their biases (the prior) could be estimated from the distribution of reproductions. Every tested group showed a sparse prior with peaks at integer-ratio rhythms. However, the importance of different integer ratios varied across groups, often reflecting local musical practices. Our results suggest a common feature of music cognition: discrete rhythm ‘categories’ at small-integer ratios. These discrete representations plausibly stabilize musical systems in the face of cultural transmission but interact with culture-specific traditions to yield the diversity that is evident when mental representations are probed across many cultures.

• Ragnhild Brøvig & Jon Marius Aareskjold-Drecker (2024). Vocal Chops: Another Human/Machine Hybrid. I Jan-Olof Gullö, Russ Hepworth-Sawyer, Justin Paterson, Rob Toulson & Mark Marrington (Red.), Innovation in Music: Cultures and Contexts. Routledge. ISSN 9781032611167. doi: 10.4324/9781003462101-8. Fulltekst i vitenarkiv
• Adel Baselizadeh, Md Zia Uddin, Weria Khaksar, Diana Saplacan & Jim Tørresen (2024). PriMA-Care: Privacy-Preserving Multi-modal Dataset for Human Activity Recognition in Care Robots. I Dan Grollman & Elizabeth Broadbent (Red.), HRI '24: Companion of the 2024 ACM/IEEE International Conference on Human-Robot Interaction. Association for Computing Machinery (ACM). ISSN 9798400703232. s. 233–237. doi: 10.1145/3610978.3640701. Fulltekst i vitenarkiv Vis sammendrag

  In the field of robotics, caregiving robots and personal assistants are assuming an increasingly prominent role, directly impacting human lives. Especially in healthcare domains, these systems are starting to provide continuous 24/7 care by monitoring patients and delivering real-time insights into their activities. The effective deployment of future robots relies on equipping them with sophisticated Human Activity Recognition (HAR) algorithms. Many HAR algorithms are based on Artificial Intelligence (AI) and Machine Learning (ML) models. The development of these models necessitates suitable datasets. This paper introduces a Privacy-preserving Multimodal dataset for HAR in the context of Human-Robot Interaction (HRI) for Care robots (PriMA-Care). Tailored for care robots, PriMA-Care includes 27 diverse user activities, spanning daily tasks to physical HRI, with data from 10 privacy-preserving sensors and 17 participants. PriMA-Care addresses critical gaps in existing datasets, offering a suitable resource for HAR research in care robots.

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

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

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

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

• Kjell Andreas Oddekalv (2024). Lyrisk brunst: Rapanalysens form, mål og formål. I Peter Fjågesund, Sveinung Nordstoga & Herleik Baklid (Red.), Songen og teksten. Frå Draumkvedet til Dimmu Borgir. Novus Forlag. ISSN 9788283901634. s. 277–295. Fulltekst i vitenarkiv
• Rolf Inge Godøy (2024). Generic Motion Components for Sonic Design. I Alexander Refsum Jensenius (Red.), Sonic Design: Explorations Between Art and Science. Springer Nature. ISSN 9783031578922. s. 3–24. doi: 10.1007/978-3-031-57892-2_1. Fulltekst i vitenarkiv Vis sammendrag

  Sonic design, understood as the activity of intentionally creating sound events, encompasses both musical craftsmanship and analytic reflection. It may include technologies for sound synthesis and processing, as well as traditional methods for sound generation by musical instruments or the human voice, and also principles of orchestration. Common to many instances of sonic design, is having acoustic components that blend with concurrent real or imagined motion sensations. Thus, sonic design can be understood as a multimodal phenomenon, yet we often lack suitable concepts for differentiating and evaluating these multimodal components. This paper aims to present work on developing a scheme to detect, and actively exploit, generic motion components in sonic design, be that as analytic or creative tools.

• Emil Bernhardt (2024). Emphatic Articulation: ‘Klangrede’ as a performative concept in Nikolaus Harnoncourt’s orchestral interpretation. Studia Musicologica Norvegica. ISSN 0332-5024. 50(1-2024), s. 123–142. doi: 10.18261/smn.50.1.8. Fulltekst i vitenarkiv Vis sammendrag

  In a 2004 interpretation of Schubert’s Symphony in B minor, Austrian conductor Nikolaus Harnoncourt and the Berlin Philharmonic foreground a certain awareness regarding articulation. This awareness brings with it a broadening of the concept of articulation that transcends choices regarding accents, endings, slurs, and so on. Harnoncourt’s articulation, that is, incorporates what he refers to as the act of ‘pronouncing’ (as in quite deliberately enunciating) the musical material. This practice – what the author of this article labels ‘emphatic articulation’ – can also be framed as an attempt to clarify the relationship between music and language, an issue of importance to Harnoncourt that is most explicitly represented by his notion of Klangrede. The concept of meaning proves crucial to understanding Klangrede, and this article seeks to shed light on this relation in the context of musical performance. According to the 18th-century German philosopher Herder, the human ability to deal with meaning is based on a reflective awareness that only comes into being through the act of speaking itself. With the support of Herder’s ‘reflective awareness’, this article plumbs the depths of the emphatically articulated musical performance as a timebound act, and asks whether it might be understood in a similar way.

• Lindy Comstock, Vinicius Rezende Carvalho, Claudia Lainscsek, Aria Fallah & Terrence J. Sejnowski (2024). Transcranial Magnetic Stimulation Facilitates Neural Speech Decoding. Brain Sciences. doi: 10.3390/brainsci14090895. Fulltekst i vitenarkiv
• Maria Theodorus Henricus van Otterdijk, Margot Neggers, Jim Tørresen & Emilia Barakova (2024). A Study on Congruency in Expressive Robot Movement While Delivering Food to Seniors. I Houxiang Zhang & Qing Shi (Red.), Proceedings of the 2024 IEEE International Conference on Real-time Computing and Robotics (RCAR). IEEE (Institute of Electrical and Electronics Engineers). ISSN 9798350372601. s. 431–436. doi: 10.1109/RCAR61438.2024.10670931. Fulltekst i vitenarkiv
• 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.

• Rolf Inge Godøy (2024). Motion shapes for sound shaping. Frontiers in Psychology. 15, s. 1–5. doi: 10.3389/fpsyg.2024.1449021. Fulltekst i vitenarkiv Vis sammendrag

  The focus of this perspective paper is on relationships between sound-producing body motion and corresponding perceived sound features, guided by the idea of shapes as the common denominator of these two domains. The term shape is used to denote graphical-pictorial renderings of phenomena that we perceive or imagine, and may have physical manifestations as tracings on paper or on screen, or as gesticulations, or just as imagined tracings in our minds. Shapes give us intermittent snapshots of unfolding motion and sound fragments, and the point of shapes is to make ephemeral sound and motion features tractable as more permanent objects. Shapes of perceived sound include dynamic, spectral, textural, pitch-related, harmonic, etc. features as shapes, whereas shapes of sound-producing motion include both motion trajectories and postures of sound- producing effectors, i.e., of fingers, hands, arms, etc., or mouth, lips, and tongue.

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• Andrea Schiavio, Jonna K Vuoskoski & Youn Kim (2026). Music and the Cognitive Humanities: Interdisciplinary Insights. Oxford University Press. ISBN 9780197755600. 250 s. doi: 10.1093/9780197755600.001.0001. Fulltekst i vitenarkiv Vis sammendrag

  Music and the Cognitive Humanities explores how the sciences and humanities can work together to understand how people experience and make music. The volume primarily features chapters coauthored by researchers from scientific fields such as experimental psychology or cognitive science and scholars from musicology, philosophy, or performance studies, creating fresh and accessible perspectives on music-related topics such as creativity, empathy, development, and emotion. The result is a unique and highly readable blend of theory and evidence, offering new insights into how body, thought, action, and culture shape our musical lives and understandings. As part of the Music as Art and Science series, the book illustrates how a cognitive-humanistic approach can deepen our understanding of how people think, feel, and act through music. Clear, engaging, and accessible, it is an essential resource for students, scholars, and practitioners interested in the evolving relationship between mind, body, and music. Ultimately, Music and the Cognitive Humanities offers a compelling vision of how integrated research can enrich our understanding of human musicality in the twenty-first century.

• Olivier Lartillot & Anders Elovsson (2025). Annotemus User’s Guide. Universitetet i Oslo. doi: https:/www.uio.no/ritmo/english/projects/mirage/software/annotemus/guide0.7.2.pdf. Fulltekst i vitenarkiv Vis sammendrag

  Annotemus is a new software for computer-assisted annotation of music recordings, with a focus on transcription. Annotemus features a graphical user interface providing functionality for creating annotations on top of a graphical representation of an audio file. Annotation aids include audio playback of the current window, playback between the start and end of one or several selected notes, playback that starts prior to a selected annotated note and ends at the annotated onset position, playback with a click at each annotated onset position, and playback with a synthesized version of the annotated score played in one of the stereo channels. All playback functionality is offered with the option of slowing it down to various speeds.

• Hugh Alexander von Arnim, Abbigail Marie Fleckenstein & Anna-Maria Christodoulou (2025). SysMus25 Conference Proceedings. Zenodo. 164 s. doi: 10.5281/zenodo.17632991. Fulltekst i vitenarkiv
• Abbigail Marie Fleckenstein, Hugh Alexander von Arnim & Anna-Maria Christodoulou (2025). SysMus25 Book of Abstracts. Zenodo. 165 s. doi: 10.5281/zenodo.17531650. Fulltekst i vitenarkiv
• 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.

• Gylfi Þór Guðmundsson, Laurent Amsaleg, Adadine Chetouani, Bjorn Por Jonsson, Claudio Gennaro & Ewa Kijak (2024). CBMI 24: Proceedings of the 2024 International Conference on Content-Based Multimedia Indexing. IEEE (Institute of Electrical and Electronics Engineers). ISBN 9798350378443. 380 s. Fulltekst i vitenarkiv

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

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

• Philippe Vendrix, Rebekah Ahrendt, Judith Irmela Haug & Olivier Lartillot (2026). COST Action EarlyMuse 2022-2026. Six Reports on Musicology in Europe. doi: 10.5281/ZENODO.22337344. Fulltekst i vitenarkiv Vis sammendrag

  This volume gathers the six reports produced between 2025 and 2026 within COST Action CA21161, A New Ecosystem of Early Music Studies (EarlyMuse), the first COST Action ever devoted to historical musicology. Running from September 2022 to October 2026, the Action brought together close to three hundred researchers from some forty countries in five working groups: Education, Sources, Publications, Performances and Policies. Each report was drafted, discussed and published separately, with its own editorial team, corpus, method and primary audience. Assembled here, they describe a single object from six angles: not "early music" as a repertory, but the ecosystem in which musical scholarship is now produced: the departments and conservatoires that train and employ musicologists, the doctoral frameworks that certify their work, the libraries and archives that hold the sources, the digital infrastructures and computational tools that mediate access to them, the European funding architectures that decide which questions become fundable, and the professional and public worlds in which musical knowledge circulates. The six reports cover: musicology as data science and heritage science; the mapping of musicology in European higher education and research institutions; musicology and artificial intelligence; historical musicology and European research infrastructures and initiatives (EOSC, ECCCH/ECHOES, the Data Space for Cultural Heritage, DARIAH, E-RIHS); doctoral-level artistic research in music; and musicology within Horizon Europe co-funded partnerships, notably Resilient Cultural Heritage and the emerging Virtual Worlds partnership. Taken together, they document a growing mismatch between the intellectual vitality of the field and the fragility of the structures through which it is taught, documented, funded and made visible. Recurrent findings include the statistical invisibility of musicology in OECD, Eurostat and UNESCO classifications; the institutional cost of methodological pluralism; and the claim that the field is under-positioned rather than under-qualified for the European agendas now being written. The volume is neither a state of the art nor a synthesis nor a manifesto, but a handover document, a description of the terrain, closing with recommendations addressed to institutions, national funders, European bodies, learned societies and individual researchers.

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

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

• Finn Upham (2026). Familiarity, performance function, and physiological synchrony in concerts. Fulltekst i vitenarkiv Vis sammendrag

  When and how do bodies work together in concert? Some music requires unison action from performers while others involve cooperative but independent contributions. Some genres and events invite active audience participation, others expect discreet attention. With a new analysis strategy called subset coherence, this talk compares the prominence of respiratory, cardiac, and body motion synchrony across genres of music and categories of participants. Besides structural differences in genres and pieces, the evaluated ratios of subset coherence distinguish audience familiarity and musical roles across performing ensembles. The opportunities to physically "come together" in music are contingent on what that music is and how we can take part.

• Jonna Katariina Vuoskoski, Persefoni Tzanaki, Lieke Dinie Maria Perik & Cagri Erdem (2026). Trait empathy facilitates rhythmic entrainment and interpersonal synchrony. doi: https:/www.jyu.fi/en/file-download/download/public/67529. Fulltekst i vitenarkiv Vis sammendrag

  Recent research suggests that cognitive facets of trait empathy may facilitate interpersonal synchrony. However, the contributions of affective trait empathy and state empathy remain underexplored. This study investigated how empathy – both as a dispositional characteristic and as an experimentally induced state – influences rhythmic entrainment and interpersonal synchrony in a musical context. Thirty-three dyads completed two synchrony tasks before and after an empathy induction session. In Task 1, participants tapped with a metronome and then tried to synchronise with their partner's tapping; in Task 2, they tried to play melodies in synchrony. To induce empathy, participants narrated personal events while partners were instructed to either empathise (empathy condition) or memorise factual details (control condition) of the events. Trait empathy was measured using the Interpersonal Reactivity Index (IRI; Davis, 1980). Emotional sharing and behavioural mirroring during the empathy induction were assessed using self-report and motion-capture measures. Results showed that both affective and cognitive trait empathy contributed to synchrony: Higher Empathic Concern predicted more consistent tapping in Task 1, and higher Fantasy predicted greater interpersonal synchrony in Task 2. Induced empathy showed no main effects; however, high-Fantasy participants who felt more emotionally engaged with their partners' narrations synchronised better than those who were less engaged. Additionally, high-Fantasy participants showed greater mirroring of narrators' head movements, although this was significant only in the control condition. These findings point to a multifaceted role of empathy in rhythmic and interpersonal synchronisation, suggesting that effective coordination draws on both cognitive and emotional aspects of empathy.

• Augustin Braud, Alexandra Büttner, Olivier Lartillot, Anna Katharina Laux, Laurent Pugin & Kristina Richts-Matthaei [Vis alle 10 forfattere av denne artikkelen] (2026). Formation of a Special Interest Group on Linked Metadata and Interoperability in Musicology: Report and Results from the International Musicology Workshop Held Between NFDI4Culture, musica*, RISM and the MishMash Centre for AI and Creativity. doi: 10.5281/ZENODO.22868638. Fulltekst i vitenarkiv Vis sammendrag

  The report presents the results and the outcome of an international musicology workshop held at the Academy of Sciences and Literature | Mainz on 7th- 8th May 2026. The workshop brought together for the first time members of musica* – Consortium en musicologie numérique from the French digital humanities infrastructure project Huma-Num and musicologists from NFDI4Culture, the German Consortium for Research Data on Material and Immaterial Cultural Heritage, as well as experts from the RISM Digital Centre of the Répertoire International des Sources Musicales (RISM), based at the Swiss National Library in Basel, and from the MishMash Centre for AI and Creativity, a consortium of Norwegian research institutions focusing on the application of artificial intelligence in the cultural sector. Furthermore, musicologists and developers from the Specialized Information Service (FID) for Musicology (musiconn) and the Centre for Digital Music Documentation (CDMD) were present. At the workshop, the group established a new Special Interest Group on Linked Metadata and Interoperability in Musicology. This group will lay the groundwork for future collaborative efforts with a focus on improving the interoperability and alignment of metadata between the aforementioned projects and consortia. The first steps in this process are documented in this report.

• Jim Tørresen (2026). Tutorial: Ethics in Embedded Systems and Robots. Fulltekst i vitenarkiv
• Jim Tørresen (2026). Embedding Intelligence in Robots Through Interdisciplinary Collaboration. Fulltekst i vitenarkiv
• Dana Swarbrick & Suvi Saarikallio (2026). An Exploratory Study on How AI Song Generation Affects Emotions, Agency, Authenticity, Creativity, and Connectedness in Musicians and Nonmusicians. doi: https:/osf.io/pucj2. Fulltekst i vitenarkiv Vis sammendrag

  Songwriting supports creative and emotional expression and social and emotional development through emotion regulation and wellbeing, self-esteem, and a stronger sense of identity. Recent advances in AI technology have provided access to music creation even for people without musical expertise, through AI song generation. We conducted an exploratory, single session study to examine these outcomes in participants attending public outreach events. 45 participants with varying musical proficiency were instructed to express themselves creatively and emotionally by `composing' a song with an AI music generator. They listened to their generated songs and completed a questionnaire measuring song evaluation, task engagement, emotional expression, agency, authenticity, creativity, and connectedness. These exploratory results suggest that more positive attitudes towards AI are related to greater connectedness, while more musical proficiency is related to lower authenticity and evaluation. Agency partially mediated the effects of emotional expression and engagement on authenticity, creativity, and connectedness. These exploratory results can be leveraged for future confirmatory research.

• 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.

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

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

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

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

• Alexander Refsum Jensenius (2026). 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.

• Jim Tørresen (2026). 2nd Workshop on Robot Ethics – Ethical, Legal and User Perspectives in Robotics and Automation (WOROBET). Fulltekst i vitenarkiv
• 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.

• Lars Løberg Monstad, Olivier Lartillot, Karstein Grønnesby & Martin Fuglseth Kolden (2026). Brukte AI til å transkribere noter for hardingfele – det ga gründerne idéen til ny musikk-app de mener kan bli en «pengemaskin». [Journal]. Shifter. doi: https:/www.shifter.no/nyheter/brukte-ai-til-a-transkribere-noter-for-hardingfele-det-ga-gruenderne-ideen-til-ny-musikk-app-de-mener-kan-bli-en-pengemaskin/460554. Fulltekst i vitenarkiv Vis sammendrag

  Bots For Music vil skape et bibliotek over musikknoter, både for musikk som ikke er laget ennå, eller noter som ikke finnes. Appen skal kunne brukes av profesjonelle musikere, til læring og hobby.

• Olivier Lartillot (2026). Computational (AI) analysis (& curation) of music archives. doi: https:/en.bergenassembly.no/Archival-Intelligence-Epistemic-Shifts-from-Sound-to-Listening. Fulltekst i vitenarkiv
• Joan Gatti, Olivier Lartillot & Lars Løberg Monstad (2026). Hardingfele and AI. doi: https:/mishmash.no/lab/opening-ceremony/#%3A%7E%3Atext=act%20is%20claimed-%2C1%3A03%3A30%2C-Hardingfele%20and%20AI. Fulltekst i vitenarkiv Vis sammendrag

  Skurdalsbruri played by Joan Gatti, with real-time visualisation of the music transcription and melodic analysis

• Olivier Lartillot (2026). Intensive/Extensive Music Analysis and Identification. doi: https:/www.uio.no/ritmo/english/news-and-events/events/conferences/2026/daim/index.html. Fulltekst i vitenarkiv Vis sammendrag

  Olivier Lartillot’s second talk on Day 2 addressed music analysis at two complementary scales: intensive, investigating the internal structure of individual pieces, and extensive, comparing large collections to identify related tunes and characterise musical styles. Sequential patterns provided the connection between these scales, linking detailed motivic analysis to corpus organisation, retrieval, and metadata inference. The talk opened with a visualisation of a Hardanger fiddle performance presented at the MishMash opening event. Conventional notation indicates repeated bars, but the boundariesofmusicalpatternsdonotnecessarilycoincidewithbarlines, andshortermotifs can recur within larger repeated passages. A paradigmatic representation rearranged the score so that corresponding patterns aligned vertically, making these relationships explicit. Applied to Bach’s Contrapunctus XIV from the Art of Fugue, the same approach revealed how the counter-subject draws on recurring fragments whose arrangement varies between appearances. A demonstration from the MusicLab Copenhagen concert with the Danish String Quartet showed how live pitch tracking could animate this analysis during performance, while also illustrating the difficulty of following several simultaneous contrapuntal relationships. Lartillot emphasised that transcription and analysis are closely interconnected. Moving from audio to notation requires note detection, pitch estimation, beat tracking, and rhythmic quantisation, each of which already involves interpreting musical organisation. The opening of Mozart’s G-minor symphony illustrated how repeated accompaniment figures support the inference of beats and metrical groupings. Patterns can themselves consist of smaller patterns, requiring models that accommodate several levels of or- ganisation. Debussy’s Syrinx illustrated exact repetition, altered endings, and rhythmic correspondences despite changes in pitch. It also showed how a new motif can emerge within the ending of a repeated passage. Such relationships suggest that stylistic analysis should consider not only which motifs recur, but also how repetitions are organised and connected. Earlier work with Mondher Ayari on Tunisian istikhbâr improvisation provided a connection to the morning’s discussion of recitation. Here, modal identity depends on characteristic melodicfiguresaswellasscalestructure,makingtherecognitionofmotifsthroughvariation an important analytical task. For Norwegian folk music, Lartillot proposed extending this approach to the construction of phrases and larger forms, the relation between ornamentation and core melodic structure, and the development of an ornamentation taxonomy. Further dimensions included modal organisation, rhythmic figures, expressive timing, and pitch intonation in relation to melodic context. 42 At the corpus scale, the proposed aim was to discover correspondences between pieces without requiring predefined categories, identifying shared patterns, possible quotations, and tune families. These relationships could help characterise genres, dances, musicians, regions, or periods. An interconnected catalogue could offer an overview placing related tunes near one another, links between corresponding passages while browsing individual recordings, and searches formulated around musicological features. Collaboration with Sámi experts at the University of Tromsø raised related possibilities for segmenting yoiks within long recordings, identifying distinct yoiks and performers, and mapping collections throughcontentanalysis. Bothcontinuousaudio-derivedrepresentationsandmorediscrete transcriptions were considered. These proposals formed part of the research agenda for MishMash WP6. Pattern- based comparison could also support metadata inference, using labelled items to suggest attributesforrecordingswhosedocumentationisincomplete. Lartillotenvisagedcombining rule-based modelling with machine learning in a framework of interdependent transcription and analysis processes. Discussion emphasised that the intended users must guide the choice of representations and analytical categories, through close collaboration with experts and musicians. Po- tential uses included research, teaching, and public engagement. A concrete example concerned fiddle tunes in which successive variants retain an ending while changing their beginnings: conventional repeat notation handles this awkwardly, whereas alternative graphical representations could make the shared structure clearer.

• Olivier Lartillot (2026). Computational Transcription of Chant and Yoik. doi: https:/www.uio.no/ritmo/english/news-and-events/events/conferences/2026/daim/index.html. Fulltekst i vitenarkiv Vis sammendrag

  Olivier Lartillot presented preliminary experiments in the computational transcription of chant and yoik. Conceived as a workshop contribution rather than a report on a completed study, the presentation explored how signal-processing methods might support the analysis introduced in the preceding talks, while identifying questions requiring further discussion with musical and cultural experts. Using the same Hungarian lament recording analysed by Biró and van Kranenburg, Lartillot first considered how the beginning and end of individual notes might be detected. A fundamental-frequency (F0) contour provides information about pitch, but does not by itself reveal the precise temporal organisation of a vocal performance. Note boundaries are affected by consonants, vowels, low-energy vocal gestures and changes distributed across the harmonic spectrum. Lartillot therefore proposed tracking the energy of the fundamental and its successive partials. Coordinated increases or decreases across these partials can indicate the onset or offset of a vocal sound, including a brief gesture preceding the principal note. The approach draws on earlier work in which changes in spectral energy were used to detect onsets in complex musical recordings. These experiments used simple signal-processing rules, but Lartillot emphasized that the eventual choice between rule-based and machine-learning methods would depend on the available annotated data. If sufficiently large training collections were not available, signal processing could provide an initial segmentation from which annotations could be corrected and subsequently used to train a model. Such a hybrid workflow would combine interpretable preliminary rules with iterative expert validation. The proposed segmentation also complements the global pitch-histogram method pre- sented by Biró and van Kranenburg. Whereas their approach derives the principal scale positions from peaks in the distribution of F0 values, Lartillot considered first detecting the temporal extent of each note and then estimating its representative frequency locally from the stable portions of its pitch contour. Each estimate could subsequently be related to the scale degrees obtained from the recording as a whole. For long performances in which tuning changes progressively, a single global histogram might be insufficient; the pitch reference would then need to adapt over time. This extension remained to be implemented. Lartillot next presented an exploratory analysis of a yoik recording supplied by Camilla Brattland. Its spectrum showed substantial activity beyond the fundamental, including prominent partial and formant regions suggestive of a diphonic vocal quality. These timbral features would ultimately need to be represented alongside pitch. Even the F0 contour 36 alone revealed rapid movement and extensive oscillation around apparently recurrent pitch levels. Some events appeared comparatively stable, whereas others approached or circled a level without settling on it. The neutral letter labels used in the demonstration were therefore provisional analytical markers rather than Western scale degrees. Slowing down the recording made these details easier to hear and inspect, but Lartillot refrained from proposing a definitive segmentation or categorization before discussing the results with yoik experts. The ensuing discussion broadened the notion of transcription beyond conventional staff notation. Continuous transitions, approaches from above or below, oscillations and the presence or absence of clear note boundaries may carry information that a sequence of discrete pitches cannot preserve. Participants also asked how computational results could be made accessible without relying on visual representation, as well as to tradition bearers who do not use Western notation. Lartillot suggested synchronizing analytical information with the original recording, enabling rapid auditory comparison between passages, and sonifying aspects of the analysis. The presentation thus framed transcription as an iterative, expert-guided process in which computational representations should remain connected to both the sounding material and the ways in which the tradition itself distinguishes musically meaningful features.

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

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

• Laura Bishop (2026). In Pursuit of Musical Togetherness: Thoughts and Behaviour in Ensemble Playing. Fulltekst i vitenarkiv
• Hans-Hinrich Thedens, Olivier Lartillot & Lars Løberg Monstad (2026). Folk music and Hardanger fiddle transcription. doi: https:/www.uio.no/ritmo/english/news-and-events/events/conferences/2026/daim/index.html. Fulltekst i vitenarkiv Vis sammendrag

  The Norwegian Collection of Folk Music was founded not simply to preserve tradition, but to enable scientific study based on sound rather than manuscripts alone. Its first director, Olav Gurvin, even collaborated with the Institute of Physics on an early melody-writing device. Field collecting later documented regional practices, while editorial work produced seven volumes of Hardanger fiddle tunes followed by volumes for standard fiddle. Since 2014, the original reel-to-reel tapes have been digitized and a searchable catalogue placed online. The collaboration with RITMO first addressed long tapes containing sequences of tunes separated by spoken announcements. Existing metadata were combined with energy measurements and Apple’s estimates of speech, music, violin, and singing. Rule-based processing proposed boundaries, which a research assistant verified and associated with catalogue information. This divided 343 one-to-two-hour tapes into individual tunes, currently disseminated, as a first prototype, through the Open Science Framework. 19 The second part focused on automatic transcription of orally transmitted Hardanger fiddle music. Rather than treating a conventional score as the sole endpoint, the team aims to produce time-aligned representations retaining note onsets, offsets, and continuous- frequency pitch, eventually aligned with notation or displayed as a proportionally spaced score. This matters because flexible beat durations and microtonal intonation can be ob- scured by conventional notation. A compact model adapted from the piano-transcription system Transkun proposes polyphonic events. Transfer from piano transcription is facil- itated by the instrument’s stable pitch and frequent two-string textures, but the small dataset—119 manually annotated tunes—requires a reduced architecture and dedicated augmentation. Psychoacoustic post-processing refines pitches beyond the 440-Hz equal- tempered grid and reconstructs symbolic note endings masked by resonance, for instance by linking melody notes above a sustained drone. The transcriptions can support studies of intonation, rhythm, and recurrent structure; metadata generation and search; and learning and performance. Beat tracking and large-scale deployment remain ongoing work.

• Olivier Lartillot (2026). MishMash WP6 and the MusikkData infrastructure project. doi: https:/nfdi4culture.de/news/details/international-musicology-workshop.html. Fulltekst i vitenarkiv
• Olivier Lartillot (2026). Building Connected Collections of Norwegian Music: From Segmentation and Transcription to Interoperable Data and AI-Enabled Discovery. doi: https:/www.dariah.eu/activities/working-groups/artificial-intelligence-and-music-aim/. Fulltekst i vitenarkiv
• Olivier Lartillot & Lars Løberg Monstad (2026). Towards automated transcription of Hardanger fiddle performances. doi: https:/dlfm.web.ox.ac.uk/sites/default/files/dlfm/documents/media/lartillot_poster_dlfm26.pdf. Fulltekst i vitenarkiv
• Nanette Nielsen & Kristina Mariell Dulsrud Klungnes (2026). Musikkens makt på TV-skjermen. Fulltekst i vitenarkiv
• Nanette Nielsen & Kristina Mariell Dulsrud Klungnes (2026). Critical Transitions and Affective Temporalities in the Soundtrack of Stranger Things. Fulltekst i vitenarkiv
• Nanette Nielsen (2026). Enacting Musical Creativity: the value of human agency in the face of AI. Fulltekst i vitenarkiv
• Nanette Nielsen (2026). Anticipatory Aesthetics and the Listening Body. Fulltekst i vitenarkiv
• Nanette Nielsen (2026). Musicking and the value of human agency in the face of AI. Fulltekst i vitenarkiv
• Olivier Lartillot & Lars Løberg Monstad (2026). Hybrid AI for Expert-Assisted Transcription of Norwegian Hardanger Fiddle Music. doi: 10.5281/zenodo.23009316. Fulltekst i vitenarkiv Vis sammendrag

  The traditional Norwegian Hardanger fiddle repertoire is a rich oral heritage. Existing score transcriptions are scarce and rarely capture essential performance features, particularly ornamentation, microtonal intonation, two-string textures, and systematic beat unevenness. We develop an innovative AI-assisted transcription framework producing detailed, performance-aligned MIDI representations that preserve fine- grained timing and pitch. The neural front-end adapts a state-of-the-art deep-learning model for polyphonic music transcription to our small but growing dataset of expert annotations. It progressively learns from expert corrections, providing increasingly robust results, as reflected by a rising F1 score. The model is complemented by signal processing, musicological knowledge, and cognitive principles addressing repertoire-specific challenges such as non-standard tuning, sympathetic-string resonances, sustained drones, and symbolic note offsets. Acoustic analysis refines pitch beyond the conventional twelve-tone MIDI grid, while tune-specific pitch distributions organise the performed notes into musically meaningful categories. These results are transformed into a new score representation proportionally aligned with the recording. Colours make stable “micromodal” pitch categories visible and highlight ambiguous notes or pitches lying outside those categories. This makes the score useful not only for reading and performance, but also for checking AI output, exploring intonation and texture, and identifying recurring patterns. This expert-in-the-loop workflow drastically reduces transcription correction time, with the aim of progressing towards full automation. The resulting transcriptions and scores will support performance, education, archive exploration, corpus research, and future AI methods for musical heritage. This original hybrid AI approach also demonstrates the limitations of purely machine-learning approaches to music transcription.

• Olivier Lartillot (2026). AI-powered curation and enrichment of music collections: (Norwegian) (folk) music collection(s). doi: 10.5281/zenodo.23009316. Fulltekst i vitenarkiv
• 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.

• Vendrix, Philippe, Ahrendt, Rebekah, Judith Irmela Haug & Olivier Lartillot (2026). Musicology and Artificial Intelligence. doi: 10.5281/zenodo.20639784. Fulltekst i vitenarkiv Vis sammendrag

  This report provides an overview of Artificial Intelligence in European musicological research, addressed to musicologists, librarians, archivists, curators, educators, research-policy officers, infrastructure coordinators, and tool developers. Moving from conceptual foundations to institutional implications, it maps the affordances and limitations of AI-based models and tools for the discipline, while situating them within the European normative landscape defined by the ALLEA European Code of Conduct for Research Integrity, the EU Artificial Intelligence Act, and the UNESCO Recommendation on the Ethics of Artificial Intelligence. The six complementary sections successively address: (1) methodological foundations, clarifying notions of model, tool, and critical posture, and surveying audio-, image-, encoding-, and language-model-based applications such as automatic music transcription, optical music recognition, score-audio alignment, automated analysis, reconstruction, and LLM prompt­ing; (2) data infrastructure, covering FAIR/CARE governance, ontologies and persistent identifiers, European federated infra­structures, auditory digital twins, and risks of fragmentation, representational bias, quality variability, and copyright; (3) a continuation of the disciplinary stakes involved in source and corpus processing; (4) musicological education in the age of AI, including curricular redesign, AI literacy, and design models such as the Two-Lane Approach; (5) professional practices and responsibilities, examining scholarly credibility, intellectual property, academic integrity frameworks, cultural and creative industry collaborations, institutional and legal risks, gender equality, and lessons from organised labour; and (6) best practic­es, articulating methodological pluralism against technological determinism and formalising principles of ethical reflexivity, human oversight, explainability, reproducibility, and accountability.

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

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

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

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

• Mikael Hope, Nanette Nielsen & Bruno Laeng (2026). Audiovisual Rhythms in Narrative Film: How Music Affects Attention, Memory and the Experience of Time. Fulltekst i vitenarkiv Vis sammendrag

  Music is known to shape viewer experiences in film, yet how it affects the cognitive processes underlying viewer engagement remains unclear. This study investigated music's role in modulating temporal experience, memory, and attention in film viewing across two complete narratives. We conducted complementary online and laboratory experiments using animated films with different musical conditions: original music with tension-release patterns aligned to visual narrative, the same original music rearranged in a different temporal order, constant-intensity music, and no music. Laboratory results revealed that music with congruent narrative structure led to significantly shorter duration estimates, enhanced temporal order memory, better recognition of narrative details, and higher absorption ratings compared to reordered music. These effects were absent in the online experiment, suggesting that viewing context moderates music's impact. The findings demonstrate that music's narrative structure, and not just its presence or emotional content, modulates temporal experience, narrative memory, and attention during film viewing.

• Andrii Smykovskyi, Bavo van Kerrebroeck, Jonna Katariina Vuoskoski & Caroline Palmer (2026). Individual Tempo Asymmetries and Coupling Dynamics in Dyadic Musical Synchronization. Vis sammendrag

  Interpersonal synchronization supports social interaction by enabling coordinated behavior and shared emotional experience, yet how emotions influence the mechanisms underlying synchronization remains poorly understood. We investigated how emotional feedback influences auditory–motor synchronization between dyadic partners with faster and slower Spontaneous Production Rates (SPR). Nonmusicians completed a joint tapping task with pre-feedback, feedback (matched or mismatched positive or negative), and post-feedback phases. Temporal asynchronies were modeled using a delay-coupled oscillator model to estimate participant-specific coupling parameters. Model comparisons between delay-coupled and zero-delay models showed that allowing for a delay significantly improved model fit. Slower-SPR partners coupled more strongly than faster partners, while feedback valence did not affect coupling strength. Coupling strength was positively associated with arousal in pre-feedback trials and with perceived synchronization success under mismatched feedback trials. These findings demonstrate the role of intrinsic frequency differences and shared feedback structure in organizing interpersonal synchronization and its subjective correlates.

• Andrii Smykovskyi (2026). Emotions: The Human Wi-Fi. doi: https:/op.europa.eu/en/publication-detail/-/publication/fddb2f69-7b56-11f1-bf5e-01aa75ed71a1/language-en. Fulltekst i vitenarkiv Vis sammendrag

  Humans connect through rhythm more deeply than we realise. Our research explores how emotions and music shape the way we connect with others. At our booth, you can play simple melodies, watch your “human Wi-Fi signal” grow as you synchronise with friends, and discover how feelings influence your inner rhythm. Curious minds can also glimpse a beautiful mathematical model that shows how separate rhythms suddenly fall into sync. Come and experience how music, emotion and science meet in real time.

• Kjell Andreas Oddekalv & Even Igland Diesen (2026). Fra Bronx til bygda. [Journal]. Klassekampen. doi: https:/klassekampen.no/artikkel/2026-07-17/fra-bronx-til-bygda. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv (2026). Side Brok: Albumlytt med Sjef R, Skatebård og Dr. Kjell. doi: https:/www.hf.uio.no/om/aktuelt/arrangementer/makt/side-brok-albumlytt-med-sjef-r-skatebard-dr-kjell.html. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv, Bendik Walderhaug, Terje Bjørkheim, Magnus Ugstad, Anders Ruud Sørli & Erik Hole (2026). Sinsenfist på Kulturhagefesten Øyslebø. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv, Bendik Walderhaug, Terje Bjørkheim, Magnus Ugstad, Erik Hole & Anders Ruud Sørli (2026). Sinsenfist på Gaukenfestivalen. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv (2026). Orchestrating rap vocals: Outlining the perceptual and aesthetic framework of Chimericity. Fulltekst i vitenarkiv
• Diego Marin-Bucio (2026). Kinetic listening: Exploring Dance Rhythm as Embodied Temporality in Movement. doi: https:/www.nofod.org/wp-content/uploads/NOFOD_2026_LHI_Netu%CC%81tga%CC%81fa_.pdf. Fulltekst i vitenarkiv Vis sammendrag

  This research presents the development and initial pilot results of Kinetic Listening, a techno-sensory methodology for dance pedagogy and choreographic creation with visually impaired participants, based on the real-time sonification of body movement. The project explores how integrating auditory and kinaesthetic perception—of one’s own and others’ movements—can support learning, memorization, and composition without reliance on visual mediation. Using inertial sensors connected to MIDI systems, movement is translated into sound, generating a sonic-kinetic vocabulary through which motion can be experienced simultaneously as auditory and spatial structure. From an interdisciplinary perspective, Kinetic Listening proposes sound as both a compositional tool and a perceptual anchor for developing motor memory and spatial coordination. In doing so, it challenges the visual hegemony in dance pedagogy and advances multisensory, inclusive models of choreographic transmission. The study follows a qualitative methodology combining ethnography, movement analysis, and experimental choreographic laboratories with participants with diverse visual conditions. The process unfolds across phases of technological development, methodological exploration, and pedagogical implementation. Preliminary results from pilot studies in Mexico and Norway suggest that movement sonification enhances spatial orientation, choreographic recall, and collective movement-making through sensorimotor listening

• Diego Marin-Bucio (2026). Improvisation and interaction in djembe dance. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Fulltekst i vitenarkiv Vis sammendrag

  This presentation examines how dance improvisation emerges as a coherent, culturally meaningful, and interactionally situated flow of movement. Drawing on two studies from an article-based PhD project, Memory in Performance and Interaction, Structure, and Style, it considers improvisation from both experiential and relational perspectives. The first part explores how kinesthetic memory and thinking-in-movement enable dancers to generate and adapt movement in real time. Rather than being either completely spontaneous or predetermined, improvisation emerges through embodied experience, culturally learned movement possibilities, and the changing conditions of the present moment. The second part turns to djembe dance, examining how improvisation is further shaped through interaction between dancers and musicians. Through examples of motif loops, rhythmic offers and calls, movement qualities, and stylistic variation, the presentation shows how structure, style, and interaction operate interdependently. It argues that improvisation is not simply an expression of individual choice, but an embodied and relational process through which movement remains both adaptable and culturally recognizable.

• Diana Saplacan Lindblom, Sanna Kuoppamäki, Leon Bodenhagen & Jim Tørresen (2026). Presentation during Workshop at NordiCHI 2026 at the 1st Workshop on Robots as Welfare Technologies and Actors within Future Home- and Healthcare Services: Co-Designing an Integration Model through Story-Dialogue Method. Fulltekst i vitenarkiv
• Diana Saplacan Lindblom (2026). Presentation at the Robophilosophy Conference: Robots as Welfare Technologies in Home and Healthcare - Some of the Lessons Learned So Far. doi: https:/www.ucd.ie/robophilosophy2026/workshops/robociety-visionandreality/. Fulltekst i vitenarkiv Vis sammendrag

  he talk will present some of the lessons learned so far in some of the previous or ongoing research projects (Vulnerabilities in Robot Society-VIROS, Predictive and Intuitive Robot Companion – PIRC, and ROBOWELL- Robots as Welfare Technologies and Actors for Elderly Care). It addresses, amongst others, some of the practical and ethical challenges of integrating social robots, as actors, within care environments, seen from the user perspectives (e.g., elderly, healthcare professionals). These practical examples and ethical challenges, in their turn, will eventually lead to the more complex societal and philosophical questions about if and when, and how social robots or socially assistive robots would be appropriate to be integrated within home- and healthcare. The talk also aims to raise questions about looking at advanced (AI-based) social robots as an integrated part of a larger (healthcare or societal) system, rather than looking at these as isolated technological entities often used in single-use cases or experiments.

• Diana Saplacan Lindblom (2026). A Cross-Cultural Video-Based Study between Norway and Japan on Informed Consent and Disclosure Mechanisms on the Use of Social Robots in Public and Private Spaces - Users' Perspectives. doi: https:/ro-man2026.org/program-at-a-glance/. Fulltekst i vitenarkiv
• Abbigail Marie Fleckenstein, Mariola Paruzel-Czachura, Katarzyna Pypno-Blajda, Henna-Riikka Peltola & Jonna Katariina Vuoskoski (2026). Moral Echoes: Do Humanness and Morality Affect Emotional and Aesthetic Responses to Music. doi: 10.5281/zenodo.21416409. Fulltekst i vitenarkiv Vis sammendrag

  Background: When listening to novel music, extramusical information about the musician may shape listeners’ evaluations. Research outside music suggests that experiences of being moved, empathy, and aesthetic appreciation can be modulated by appraisals of an agent’s morality (Seibt et al., 2017; Singer et al., 2006). In music, such modulations may depend on whether listeners perceive a human agent is present (i.e., human or AI-generated music). Findings on AI-generated music are inconsistent: some studies indicate a bias against AI music (Ansani et al., 2025), whereas others report mixed results (Shank et al., 2023). Aims: The experiment evaluated whether perceived Morality (Moral, Immoral, Neutral) and perceived Humanness (Human vs. AI-model) and influence listeners’ emotional and aesthetic responses to unfamiliar vocal music. Methods: This online experiment used a 2 (Humanness: Human vs. AI-model) × 2 (Vocalist Sex: Male vs. Female) × 3 (Morality: Moral, Immoral, Neutral) mixed factorial design. Participants (N = 400) were randomly assigned to one of four groups. Each participant read three behavioral descriptions (Moral, Immoral, Neutral) and listened to three unfamiliar songs pseudo-randomly paired with the descriptions. Responses were measured using the GEMS-9 (Zentner et al., 2008) plus items assessing feeling Moved, Connected, Beauty, Liking, and Creativity. Results: Linear mixed-effects models showed significant main effects of Morality, with Immoral descriptions consistently yielding lower (i.e., more negative) ratings for nearly all dependent variables with the exception of Unease. There was no main effect of Humanness and no Morality × Humanness interaction. Exploratory analyses indicated that higher Trait Empathy was associated with stronger emotional and aesthetic responses overall, except for the Unease factor. Conclusions: Present findings indicate that perceived immoral behavior, regardless of a perceived human creator, negatively affected listeners’ ratings of positive-valence emotional and aesthetic appraisals of unfamiliar music, consistent with the view that music listening is grounded in socio- cognitive evaluations of the agent behind the work.

• Rainer Polak (2026). Performance and audiency in djembe music and dance. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Fulltekst i vitenarkiv
• Rainer Polak (2026). Multimodal cueing of meter in audio and motion data. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Fulltekst i vitenarkiv
• Sagar Dutta (2026). From Dance Motion to Music Retrieval. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Fulltekst i vitenarkiv Vis sammendrag

  This talk explores how rhythmic information can be extracted from dance motion and used for music information retrieval. First, I present a computational framework for estimating musical tempo directly from dance movement using kinematic rhythmic anchors—salient events such as directional changes, velocity peaks, and changes in motion intensity. By analysing rhythmic periodicities across the hands, feet, and torso, the approach demonstrates that musical tempo can be inferred from motion alone across diverse dance genres. Building on this framework, I then present an approach for retrieving music for a given dance performance from a large, unpaired music collection. Candidate tracks are first filtered according to tempo and then ranked according to the temporal alignment between motion-derived rhythmic anchors and musical beats and onsets. Perceptual studies show that the resulting recommendations are judged as better synchronized with the dance than random and tempo-matched alternatives. Together, the studies demonstrate how computational analysis of embodied rhythm can support multimodal applications connecting human movement and music.

• Rainer Polak (2026). Rhythm perception in djembe music and dance: experimental approaches. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Fulltekst i vitenarkiv
• Rainer Polak (2026). DjembeDance Symposium. doi: https:/www.uio.no/ritmo/english/projects/djembedance/events/djembedance-symposium/. Fulltekst i vitenarkiv Vis sammendrag

  The DjembeDance Symposium explores what rhythm reveals when understood as a fundamentally multimodal phenomenon—integrating music and dance rather than sound alone.

• Rainer Polak & Sylvie Nozaradan (2026). Meter as Perceptual Categorization: Insights from Empirical Ethnomusicology and Cognitive Neuroscience. doi: https:/conferences.iftawm.org/conferences/schedule-registration-durham/. Fulltekst i vitenarkiv Vis sammendrag

  Perceptual systems, despite exposure to constantly varying sensory inputs, do not treat each stimulus as unique. Through categorization, they differentiate between stimuli from distinct categories and generalize across those within a category. The convergence of perceptual representations into categories makes perception shareable across individuals, enabling collective social practices and cultural transmission. Growing evidence shows that cultural experience shapes individuals' perceptual categories, yielding cross-cultural differences in perception. Perceptual categorization can therefore be conceived both as a source and a product of social practice and cultural transmission. This paper advances the understanding of perceptual categorization through an interdisciplinary perspective on rhythm and meter perception, combining cognitive neuroscience (EEG) — which offers insights into how perceptual categories of rhythm develop from birth and are tuned by cultural experience — with ethnomusicology, which connects these EEG-captured rhythm categories to musical rhythm as a culture-specific process and product of collective social practice. The talk builds on recent research positing that rhythmic patterns anchored to fast non-isochronous pulses constitute metric categories, as observed in music from Mali and neighboring countries. First, using ethnography and performance-timing measurement in recordings, the authors show that fast non-isochronous metric categories are widespread across regions (e.g., Morocco, Iran, Romania) and persist across cultural conditions, from traditional live performance to digitally produced popular music (e.g., Iranian Bandari pop produced in Los Angeles). Second, the authors report ongoing cross-cultural EEG experiments comparing metric categories in brain responses of participants familiar vs. unfamiliar with music genres involving non-isochronous categories. Preliminary findings confirm that perceptual rhythm categories are significantly shaped by music-cultural environments, and that this cultural diversity in rhythm perception may in turn contribute to the rhythmic diversity in the music genres forming these cultural environments. This evidence on culture-driven perceptual plasticity has implications for music analysis, whose modeling of musical experience depends on an informed understanding of how perception operates within specific cultural groups.

• Rainer Polak (2026). Djembe Music/Dance Performance as Interaction. doi: https:/conferences.iftawm.org/conferences/schedule-registration-durham/. Fulltekst i vitenarkiv Vis sammendrag

  Many West African dance-drumming genres, including djembe music/dance performance from Mali, can be understood as interaction systems in which music sustains, guides, and publicly validates community members' participation in dance. In previous research, the author has argued that, beyond motivation, multimodal coordination, collective energy, and cultural framing, a key function of music is audiency: musicians elevate participants' dance actions to the status of performance by providing focused attention and public recognition. At the same time, these systems are designed not only for predominantly adult "central" participation as dancers but also for children's "peripheral" participation, supporting informal learning and reproduction of the practice. Drawing on long-term ethnographic observation, complemented by the author's own participation as a drummer and interviews with practitioners, the talk shows that this participation framework — performance-in-the-round — is organized around three constitutive features: (1) it affords public self-presentation through "floor-taking," the dynamic negotiation of obligations and rights for participatory agency; (2) it structures floor-taking through recurring alternation between group dancing and individual dance–drum encounters, including rapid turn-taking; (3) it negotiates participation on the fly through role-switching and role-blurring between performers and audiency. The talk compares this interactional design with other settings drawing on the same repertoire: staged performance (emphasizing group coherence via pre-arranged coordination), teaching (breaking repertoire into memorizable routines via teacher–student demonstration/imitation), and urban praise-singing contexts (where song is prioritized over dance and recognition centers on donors' financial contributions). Rather than ranking these by "how participatory" they are, the paper offers a comparative account of how participation is distributed and coordinated, how these designs shape function and meaning, and how this correlates with historical trends in musical-style dynamics.

• Baptiste Bacot (2026). A corpus-based exploration of Bass music production techniques. Fulltekst i vitenarkiv Vis sammendrag

  “Bass music” is an umbrella term that refers to bass-driven EDM hardcore and experimental subgenres, such as dubstep, glitch-hop or neurofunk. While the stylistic codes of EDM are foundational in Bass music, they coexist with disruptive sonic attributes that are directly related to producers’ exploratory interactions with digital audio workstations (Brett 2021). DAWs have profoundly influenced popular music aesthetics and reconfigured genre boundaries; they also enable new takes on groove through the manipulation of time, timbre and dynamics of sounds. How do Bass music producers precisely leverage the DAW environment to create tracks at the intersection of genre conventions and experimentation? To address these questions, I investigate a corpus of DAW source files by professional Bass music producer, DJ and educator Mr. Bill, a well-established figure in the Bass music community. This collection of Ableton Live Sets (ALS) comprises over eighty unique tracks and spans nine years of music production. Having access to the source files offers unparalleled insights on professionally produced music. Building on recent studies that examine DAW production (Brøvig-Hanssen et al. 2022; Smith 2024), this presentation highlights recurring techniques in the corpus, such as sampling and resampling, parameter automation, sequencing (grid-aligned vs. off-grid events), and the use of noise and distortion. The firsthand account of these techniques reveals the way temporality is shaped at different scales through production decisions. This paper sheds light on DAW-based EDM production of the 2010s, which contributes to enrich the scope of music production research. It concludes that bass music seeks to directly engage with listener’s attention and expectations by shaping time through sound production tools, and not merely make people dance–despite what the “EDM” label suggests.

• Baptiste Bacot (2026). A corpus of Ableton Live Sets: theoretical and methodological challenges in the study of DAW creativity. doi: https:/vimeo.com/1197805588. Fulltekst i vitenarkiv Vis sammendrag

  DAWs aggregate tools to generate, process, sequence and arrange sounds. Inherited from the hardware studio ecosystem, they have profoundly influenced popular music aesthetics and reconfigured genre boundaries (Reuter 2022). Akin to a musical laboratory that encourages sonic exploration and experimentation (Brett 2021), the DAW nonetheless remains a “genre-specific medium” (Marrington 2019) that maintains strong ties with the aesthetics of electronic music. From the 1990s onwards, particularly in groove-based genres and EDM, DAWs have reconfigured approaches to rhythm—"the raison d’être of electronic dance music” (Butler 2006)— through various sound manipulations and transformations (Danielsen 2020; Brøvig-Hanssen et al. 2020, 2022). Although these evolutions in digital music production have been confirmed in the abovementioned works, the particulars of EDM production remain seldom studied. How do electronic music producers precisely leverage the DAW environment to design grooves and tracks, at the intersection of genre conventions and experimentation? This paper represents an effort to engage with these issues by approaching DAW-based EDM production at the closest level: it explores a corpus of eighty Ableton Live Sets (ALS, that are DAW source files) from Mr. Bill, a professional electronic music producer, DJ, and educator. The corpus spans over nine years and gives a valuable access to the producer’s workflow and creative process (Brett 2019), and serves as a case study for Bass music—an umbrella term for bass-driven, hardcore EDM subgenres with prominent experimental attributes. However, due to their volume and complexity, these files also pose a series of theoretical and methodological challenges, that are also discussed. The paper demonstrates three ways of engaging with the corpus, which open new paths in the study of DAW creativity. First, the ALS are scrutinized as XML files in which production information is retrieved by a bespoke analytical tool. Second, as tracks or buses can conveniently be rendered, grouped tracks are examined with a signal analysis tool, which reveals the rhythmic role of timbre and dynamics in Bass music. In turn, and third, these quantitative approaches lead back to the original ALS files with a qualitative perspective. Ultimately, this corpus study supports the idea that Bass music creation is as much about sequencing sounds (organising events on the grid) as it is about shaping rhythm through production decisions (designing spectral and dynamic properties of musical sounds). In addition, the innovative methods introduced in this paper pave the way for future research on EDM production based on the analysis of DAW source files, or any other genre that uses such music production tools.

• Joe Kearns, Chris Milnes & Austin Moore (2026). Generative AI: Making Music with Non-Humans. doi: https:/musicproductionresearch.org/2026-conference. Fulltekst i vitenarkiv Vis sammendrag

  Panel debate at the Conference for the Society of Music Production Research, Huddersfield University, 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Kyrre Glette (2026). How can we use ALICE concepts for creative purposes? doi: https:/2026.aliceworkshop.org/speakers/. Fulltekst i vitenarkiv
• Emma Hjellbrekke Stensby, Kotaro Yasui, Takeshi Kano, Akio Ishiguro & Kyrre Glette (2026). Behaviour Diversity in a Walking and Climbing Centipede-Like Virtual Creature. Fulltekst i vitenarkiv
• Balint Laczko (2026). ICAD2026 Workshop on Pixasonics, an Image Sonification Toolbox for Python. Fulltekst i vitenarkiv Vis sammendrag

  This workshop provides a hands-on introduction to Pixasonics, a Python library for interactive image analysis and exploration through image sonification. Pixasonics strikes a balance between an easy-to-use graphical application and a flexible programming library. Its design centers on real-time interaction and auditory–visual feedback in a Jupyter Notebook environment. Participants will learn to design simple Parameter Mapping Sonification applications and advanced systems by implementing their own custom feature extraction, mapping, and audio synthesis algorithms. The workshop will also cover new functionality that has been added to Pixasonics since its initial publication, such as the use of instance masks, and new visualization and interaction features.This session is designed for researchers exploring volumetric data and creative practitioners interested in experimental sound design.

• 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.

• Claudia Magdalena Sikora, Diana Saplacan Lindblom & Jim Tørresen (2026). Presentation of accepted paper: “There’s something human about it!” - Exploring users’ perception of nonverbal communication of robotic furniture. doi: https:/icsr2026.uk/programme/. Fulltekst i vitenarkiv Vis sammendrag

  Non-anthropomorphic robots are integrating into our homes. People attribute human-like characteristics to these robots, although they do not resemble humans. This raises the question of whether similar processes would occur when people interact with robot furniture. Thus, the presented exploratory pilot study investigates how users intuitively interpret and perceive the non verbal communication of such robots. In an instrumental case study, we had eleven participants interacting with the T-ABLE robot through expressive behavior. Participants were interviewed about their experience. Our findings indicate that the participants use their associations between behavior and prior to similar experiences to attribute personality to the robot table. These findings provide insights for theorizing the intuitive comprehension of the behavior of non-anthropomorphic robots.

• Diana Saplacan Lindblom, Sanna Kuoppamäki, Leon Bodehagen & Jim Tørresen (2026). Webpage for 1st Workshop on Robots as Welfare Technologies and Actors within Future Home- and Healthcare Services: Co-Designing an Integration Model through Story-Dialogue Method ROBOWELL. doi: https:/sites.google.com/view/robowell-nordichi26/home?pli=1&authuser=1. Fulltekst i vitenarkiv
• Diana Saplacan Lindblom, Edson Prestes, Praminda Caleb-Solly & Toshie Takahashi (2026). Diversity and International Perspectives. doi: https:/sites.google.com/view/icra2026-workshop-robot-ethics/home/programme?authuser=1. Fulltekst i vitenarkiv
• Diana Saplacan Lindblom (2026). Presentation of ROBOWELL research project during MishMash launch. doi: https:/mishmash.no/events/aulaen2026/. Fulltekst i vitenarkiv
• Sanna Kuoppamäki, Diana Saplacan Lindblom & Sandra Pauletto (2026). Presentation at the Welfare Technology Fair. Fulltekst i vitenarkiv
• Sanna Kuoppamäki, Diana Saplacan Lindblom, Sandra Pauletto & Tien-Ying Lu (2026). Exhibition at the Welfare Technology Fair. Fulltekst i vitenarkiv
• Sara Lovise Roaldseth, Roar Strøm & Alexander Refsum Jensenius (2026). Emil (24) har laget spill han mener kan hjelpe folk å ro i takt. [Internet]. NRK. Fulltekst i vitenarkiv Vis sammendrag

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

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

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

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

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

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

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

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

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

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

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

• Alexander Refsum Jensenius, Geir Kjetil Ferkingstad Sandve, Elin Lerum Boasson, Marius Timmann Mjaaland, Brit Lisa Skjelkvåle & Kåre Moen [Vis alle 7 forfattere av denne artikkelen] (2026). What can the Centre for Global Sustainability do for UiO – and the other way around? Fulltekst i vitenarkiv
• Anders Malthe-Sørenssen, Fabian Andsem Harang, Victoria Christine Årang Johnson, Jacob Nyrup, Knut-Andreas Lie & Geir Kjetil Ferkingstad Sandve [Vis alle 7 forfattere av denne artikkelen] (2026). Hvordan endrer KI-agenter forskningsprosessen? Fulltekst i vitenarkiv Vis sammendrag

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

• Kjell Andreas Oddekalv, Anders Ruud Sørli, Terje Bjørkheim, Magnus Ugstad, Bendik Walderhaug & Erik Hole [Vis alle 9 forfattere av denne artikkelen] (2026). Sinsenfist - God kok. doi: https:/music.youtube.com/playlist?list=OLAK5uy_nS5dnPscVk_EXSfXXS5YQlxeJRcBPHCkQ. Fulltekst i vitenarkiv Vis sammendrag

  Første singel fra Sinsenfists 2027-album Sinsen Fjernvarme. "God kok"-singelen er en god gammeldags pakke som fra fordums tid, med radio-edit, to remikser og en B-side.

• Kjell Andreas Oddekalv, Anders Ruud Sørli, Terje Bjørkheim, Magnus Ugstad, Bendik Walderhaug & Erik Hole (2026). Sinsenfist på Festival Bohem 2026. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv (2026). Practical Analysis / Analytical Practice. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2026). Mennesker og maskiner. Forskerforum.no. Fulltekst i vitenarkiv Vis sammendrag

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

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

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

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

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

• Jonna Katariina Vuoskoski (2026). Experiences of awe and being moved evoked by music: Exploring elicitors and socio-affective and behavioural correlates. doi: https:/iaea-jena2026.org/wp-content/uploads/2026/04/IAEA26_AllAbstracts_Final.pdf. Fulltekst i vitenarkiv Vis sammendrag

  Awe and being moved have recently been framed as ‘self-transcendent emotions’ that reduce the salience of the self and direct attention outwards. However, in the context of music listening, such experiences have typically been conceptualised in terms of aesthetic responses or aesthetic emotions. The aim of the two studies presented here was to investigate the extent to which music-induced experiences of awe and being moved are associated with self- transcendence by exploring the elicitors and socio-a􏰀ective and behavioural correlates associated with such experiences. Study 1 was a live concert experiment, where 91 participants listened to a string quartet performing classical and folk music, and reported their felt emotions, social connectedness, and trait empathy. Participants’ body motion was tracked using accelerometers. Being moved correlated positively with enjoyment (r = .59) and feeling connected to the performers (r = .59) and other audience members (r = .48), but only weakly with awe (r = .19). Conversely, awe did not correlate with enjoyment or connectedness to audience members, and only weakly with connectedness to the performers (r = .21). Trait empathy significantly predicted being moved, but not awe. Awe was negatively associated with body motion. Study 2 was an online experiment, where 66 participants heard 3 music excerpts randomly paired with an awe-evoking or moving video, or no video. The experience of chills was significantly predicted by being moved, but not by awe. Being moved was also a stronger predictor of enjoyment. Awe was positively predicted by valence, while being moved was predicted by both valence and arousal. Taken together, the findings suggest that music-induced being moved is associated with prosocial elicitors and increased connectedness, while awe is elicited by vastness and is experienced as less pleasurable. The implications of the findings will be discussed in relation to current theories on self-transcendent emotions.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  Musikk har evnen til å skape frysninger.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  Innslag på NRK nyhetsmorgen

• Anne Danielsen (2026). Microrhythmic Flexibility: Musical, cultural, and psychoacoustic perspectives (keynote). doi: https:/www.bcbl.eu/en/noticias/eventos-pasados/anne-danielsen-microrhythmic-flexibility-musical-cultural-psychoacoustic. Fulltekst i vitenarkiv Vis sammendrag

  Humans can achieve millisecond-level temporal precision but also adapt their timing to variable or noisy signals. Music is a useful field for studying this flexibility because it both strives for optimal timing and illustrates wide stylistic differences in what constitutes such “correct” timing. In this talk, I present research on how a sound’s acoustic microstructure, its sonic and musical context, and listeners’ enculturation and training influence perception and synchronization. Key questions are: How does a sound’s shape affect perceived event timing and synchronization variability? How do the surrounding musical sounds and rhythmic context influence these effects? And, ultimately, how does long-term exposure and training in a particular musical style modulate sensitivity and flexibility at this millisecond scale?

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

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

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

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

• Silje Pileberg & Martin Peter Pleiss (2026). Her trumfer mennesket KI: – Det er noe håpefullt i disse funnene. [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Mennesket er godt rustet til å møte ukjente situasjoner – og ikke bare på grunn av hodet vårt, ifølge forskning.

• Silje Pileberg & Olgerta Asko (2026). Forsker: Vær glad for livets overraskelser. [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Hver av dem gjør hjernen din litt mer finjustert.

• Björn Thór Jónsson (2026). More sounds than you can ask for: unexpected discoveries through simulation of natural evolutionary processes. doi: https:/www.lhi.is/en/vidburdur/samhengi-bjorn-thor-jonsson-onnur-hljod-en-thu-gaetir-oskad-ther-ovaentar-uppgotvanir-med-hermun-a-natturulegum-throunarferlum/. Fulltekst i vitenarkiv Vis sammendrag

  If we think of today’s largest AI models as a mud puddle, we are invited to stir that puddle to see, and hear, new patterns. This can achieve many interesting things, but it all builds on what is already in the puddle. To develop further as creative beings, we need something more than the same stirring. The world of sound offers numerous possibilities and also challenges. It is possible to achieve all possible sounds with modern sound synthesis technology, but not all of them are equally accessible. To use the technology requires expertise, which can be equally rewarding and limiting: it is fun to acquire skills in certain methods of sound synthesis, but what we manage to discover is also limited by those skills. And when it comes to requesting products from AI models, our vocabulary limits the sound world we can describe. The advent of computers quickly sparked interest in using them to create innovative sounds, but also to emulate how nature has found all its diverse solutions; first by encouraging processes towards a set goal, but more recently by encouraging diverse discoveries, following the insight that often seemingly unexciting discoveries lead to discoveries that change everything. If we look at the evolution of life, we see an enormous diversity of complex organisms that have managed to evolve without any apparent goal other than to survive in different conditions. This is also true in our cultural history: humanity did not set out to develop indirect heating of food, but a fellow working with radar technology noticed a chocolate bar melting in his trouser pocket, and today we have microwave ovens, which we probably wouldn't have if we had pushed aside all the discoveries that didn't seem likely to bring us closer to the goal of the microwave oven. What are the microwave equivalents of the future of music in terms of innovative sounds? We probably won't be able to conjure them up from a pool of past sounds, but engaging in evolutionary processes that search far and wide in the space of all possible sounds may uncover sounds that lead our creative process into new directions. You can follow the progress of a project that aims to establish such development processes through the website. https://synth.is

• Jonna Katariina Vuoskoski & Robin Gerke (2026). „Luminiscence“: Warum uns Licht und Live-Musik so sehr bewegen. [Journal]. Westfälische Nachrichten. doi: https:/www.wn.de/muenster/kultur/luminiscence-interview-musikpsychologin-emotionen-3470903?pid=true&ueg=default. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2026). Tverrfaglighet gjør litt vondt. Forskerforum. ISSN 0800-1715. Fulltekst i vitenarkiv Vis sammendrag

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

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

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

• Olivier Lartillot & Ingrid Romarheim Haugen (2025). Envisioning a National Digital Platform: Interconnecting Music Archives, Data, and Discovery. doi: https:/dhko.no/files/DHKO2025_Sammendrag.pdf. Fulltekst i vitenarkiv Vis sammendrag

  The National Library of Norway hosts a range of digital music collections that are currently not readily accessible and are dispersed across various databases, encompassing formats such as music recordings, sheet music, and related materials like texts, videos, and interviews. We envision creating a centralised infrastructure that brings these collections together on a high-standard platform, adhering to the latest metadata standards to enhance search capabilities and facilitate integration with international networks. This would allow users, even those querying from other systems abroad, to access music data and related information seamlessly. Additionally, we aim to extract musical information from diverse formats—such as audio recordings and sheet music images—promoting interconnectivity between these modalities. This foundational work will also pave the way for incorporating emerging AI technologies for music analysis and search in the future. To inform our vision, we are surveying music researchers in Norway to gain insights into the needs of potential users. This infrastructure represents the initial step toward developing more user-friendly interfaces targeting a broader audience, ultimately extending the impact of music research

• Jim Tørresen (2025). How should Robot Assistants behave? Fulltekst i vitenarkiv
• Jim Tørresen (2025). From Adaptation of the Robot Body and Brain Using Rapid-Prototyping to Human–Robot Interaction with TIAGo. Fulltekst i vitenarkiv
• 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.

• Kjell Andreas Oddekalv, Anders Ruud Sørli, Terje Bjørkheim, Magnus Ugstad, Bendik Walderhaug & Erik Hole (2025). Sinsenfist Julekonsert 26. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv, Jacob C. Cupps, Devin Guerrero & Jeremy Tatar (2025). Sound Ecologies: Sonic Environments in the Twin Cities. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv (2025). “I’m sorry y’all, I often drift – I’m talking gift” Microrhythmic analysis of rap – categorization, malleability and structural bothness.
• 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.

• Cathrine Montero Moen & Nora Rose Serres (2025). Skled ned Rampestreken: – Skikkelig flaut - andalsnes-avis.no. [Journal]. Åndalsnes Avis. Fulltekst i vitenarkiv Vis sammendrag

  Da Nora Serres (31) kom til Romsdalen på ferie i 2020, ante hun lite om at fjellene skulle bli et hjem.

• Pål Strande Gamlemoen, Anne-Kristin Solbakk, Ole Petter Hjelle, Maja Dyhre Foldal & Sabine Liliana Leske (2025). Blir du også rasende når sidemannen prater i mobilen? Det er det gode grunner til. [Internet]. Aftenposten.no. Fulltekst i vitenarkiv Vis sammendrag

  Høy mobilprating ute i det offentlige kan være skikkelig plagsomt. Og det er faktisk gode grunner til at hjernen vår ikke liker det.

• Silje Pileberg & Fadi Al-Ghawanmeh (2025). Slik vil forskaren hindre at arabisk musikk forsvinn. [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Dagens musikkteknologi favoriserer vestleg popmusikk. Det ønska Fadi Al-Ghawanmeh å gjere noko med.

• Silje Pileberg & Heidi Marie Umbach Hansen (2025). Tvillingstudie: Er det genetisk å bli berørt av musikk? [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Personlighetstyper kan ha mye å si, viser ny forskning.

• Eivind Torgersen, Anne-Kristin Solbakk & Venke Arntsberg Grane (2025). Utvikler bedre verktøy for å fange opp voksne med ADHD. [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  ADHD hos voksne slår ut annerledes enn hos barn. En ny test som avdekker omfanget av tankevandring, kan bidra til mer treffsikre diagnoser.

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

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

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

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

• Alexander Refsum Jensenius & Simon Høffding (2025). Mærk musiken. [Radio]. DR P2. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Simon Høffding (2025). Preliminary results from symphonic concerts. doi: https:/www.aarhussymfoni.dk/koncert/maerk-musikken/. Fulltekst i vitenarkiv
• Abbigail Marie Fleckenstein (2025). Message from the Chair. I Abbigail Marie Fleckenstein, Hugh Alexander von Arnim & Anna-Maria Christodoulou (Red.), SysMus25 Book of Abstracts. Zenodo. s. 5–5. Fulltekst i vitenarkiv
• Abbigail Marie Fleckenstein, Hugh Alexander von Arnim & Anna-Maria Christodoulou (2025). Editorial Note. I Hugh Alexander von Arnim, Abbigail Marie Fleckenstein & Anna-Maria Christodoulou (Red.), SysMus25 Conference Proceedings. Zenodo. s. 5–5. Fulltekst i vitenarkiv
• Anne Danielsen (2025). The Gains and Challenges of Radically Interdisciplinary Concert Research. doi: https:/www.hf.uio.no/imv/english/research/news-and-events/events/phd/2025/the-virtues-and-limits-of-inter-trans-cross-discip.html. Fulltekst i vitenarkiv
• Anne Danielsen (2025). A Microcosm of Rhythm. Theorizing and Analyzing Groove-Based Music (invited conference workshop). doi: https:/societymusictheory.org/meetings/workshops/plp. Fulltekst i vitenarkiv Vis sammendrag

  The workshop will be an exploration of the intricacies of rhythm and groove. Recent musicological, behavioral, and neuroscientific research on how the microstructure of sound influences perceived timing and the groove experience will be presented, and the broader implications for music analysis will be discussed. Topics will include determining reference points for microrhythmic variations, examining the intricate interplay of microtiming and sonic attributes, and understanding the influence of cultural background on the perception and production of microrhythmic features. We will also explore various analytical tools, focusing on approaches to signal-based representations of sound. Our exploration will feature grooves from African-American funk artists and bands, along with more recent computer-based EDM and hip-hop beats. Participants will also be invited to nominate grooves for collaborative dissection in the workshop. Ultimately, we will reflect on some experiential and political dimensions of groove-based musical aesthetics. Hopefully, you will leave the workshop with useful analytical tools and a renewed understanding of the crucial role of rhythmic microstructure in groove-based musical traditions.

• Jonna Katariina Vuoskoski (2025). Music, emotion, and the experience of social connection. Fulltekst i vitenarkiv
• Ragnhild Brøvig & Alex Stevenson (2025). Hip Hop Live Versions: Signifyin(g) and Homage. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2025). Rethinking Sampling, Value, and Power in Digital Music Culture. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2025). Turning Vague Ideas into Strong Research Proposals. Fulltekst i vitenarkiv Vis sammendrag

  In this talk, I will share some thoughts and lessons learned from writing RCN and ERC applications, reviewing others’ proposals, and participating in HF’s Career Development Program for ERC applicants. I will discuss the importance of (1) turning a vague idea into a focused, strong, and innovative one; (2) aligning your proposal with your research path, profile, and motivation; (3) maximizing the relevance and impact of your idea; (4) balancing broad relevance with sharp focus; (5) choosing an effective framework and storytelling strategy; (6) building networks and fostering interdisciplinary collaborations; (7) taking the “implementation” part seriously; and (8) ensuring clarity, space, and engagement throughout your proposal.

• Vemund Hegstad Alm & Ragnhild Brøvig (2025). The Decline of Cloud-Based Sample Platforms? Fulltekst i vitenarkiv
• Ragnhild Brøvig & Alex Stevenson (2025). "Meat Grinder”: Performing Experimental Hip-Hop. Fulltekst i vitenarkiv
• Ragnhild Brøvig, Paul Harkins & Nick Prior (2025). Recording, Resampling, & Repurposing: The Case of Portishead and the Bristol Sound. Fulltekst i vitenarkiv
• Ragnhild Brøvig (2025). Sampling's AH, AHA, and HAHA: Perspectives on Aesthetic, Political, and Humorous Aspects of Sampling. Fulltekst i vitenarkiv
• Vemund Hegstad Alm & Ragnhild Brøvig (2025). The emergence and potential decline of cloud-based sample platforms. Fulltekst i vitenarkiv Vis sammendrag

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

• Anna-Maria Christodoulou, Hugh Alexander von Arnim & Alexander Refsum Jensenius (2025). Supporting Narrative Comprehension in Programmatic Music through Music and Light. Fulltekst i vitenarkiv
• Per Snaprud, Alexander Refsum Jensenius, Tor Endestad & Randi Wøien (2025). Concientia. doi: https:/happeningnext.com/event/samtale-om-bevissthet-og-det-%C3%A5-skape-eid3a0d68lba3. Fulltekst i vitenarkiv Vis sammendrag

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

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

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

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

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

• Alexander Refsum Jensenius (2025). Openness in the age of AI. doi: 10.5281/zenodo.17652120. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Are we still needed? doi: https:/filmskolen.no/artikler/2025/ki-i-filmbransjen-2-0. Fulltekst i vitenarkiv Vis sammendrag

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

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

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

• Alexander Refsum Jensenius (2025). Er gamle fioliner bedre enn nye? [Radio]. NRK P2. doi: https:/www.arj.no/no/2025/11/26/gamle-fioliner/. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Musikk og kunstig intelligens. [TV]. TV2. doi: https:/play.tv2.no/nyheter/god-morgen-norge-y05mec7j?play=true. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). What is the role of AI in creative activities? Fulltekst i vitenarkiv
• Diego Marin-Bucio (2025). The Origins of Intelligence – A performative statement on the primacy of movement. doi: https:/diegomarin.art/portfolio/the-origins-of-intelligence/. Fulltekst i vitenarkiv Vis sammendrag

  This choreographic performance interrogates the foundations of consciousness and the role of the body in the emergence of intelligence. The work traces the tension between biological evolution and artificial cognition, asking whether intelligence can exist without movement—or thought without sensation. Guided by enactivist perspectives, the piece unfolds between the microscopic pulse of organic life and the glitch aesthetics of computational environments. Through this interplay, human physicality meets digital motion, composing a rhythmic architecture between the living and the synthetic.

• Diego Marin-Bucio (2025). Machinic Movement Matrix: A framework and tool for human-AI dance-creation. Fulltekst i vitenarkiv Vis sammendrag

  The Machinic Movement Matrix (MMM) is a conceptual framework for analyzing and designing human–machine creative interaction in dance. Developed through practice-led research combining dance anthropology, posthumanist theory, and AI design, the MMM offers a structured method for identifying how artificial systems participate in—or fall short of—genuine creative collaboration. Rather than focusing on the aesthetic outcomes of human–machine interaction, the MMM examines the underlying creative roles, levels of interactivity, and power dynamics that shape these processes.

• Alejandro Omar Blenkmann (2025). iElectrodes Toolbox: Fast, Robust, and Open-Source Localization of Intracranial Electrodes. doi: https:/cuttingeeg.org/practicalmeeg2025/bouquet/. Fulltekst i vitenarkiv Vis sammendrag

  Precise anatomical localization of intracranial electrodes is crucial for interpreting invasive recordings in clinical and cognitive neuroscience research. The open-source iElectrodes toolbox offers a fast, semi-automated, and robust solution for localizing subdural grids, depth electrodes, and strips from MRI and CT images, supporting automatic anatomical labeling. iElectrodes was initially introduced in Blenkmann et al. (2017), and has been updated with major methodological innovations in Blenkmann et al. (2024). To date, it has >2000 downloads. In this 90-minute session, I will first provide an introductory lecture on the core functionalities of iElectrodes, including image pre-processing steps, semi-automatic electrode localization, brain shift compensation, and standardized anatomical registration. We will cover the recent major upgrades to the toolbox: the GridFit algorithm for robust localization of SEEG and ECoG electrodes under challenging conditions (e.g., noise, overlaps, and high-density implants), and CEPA (Combined Electrode Projection Algorithm) for smooth compensation methods for grids, addressing brain deformations based on mechanical modeling principles. These developments significantly enhanced the robustness and precision of intracranial electrode localization. In the second part of the session, we will move into a hands-on tutorial, where participants will learn how to use the toolbox through practical exercises. Using real patient datasets (anonymized), we will cover: • Preprocessing MRI and CT images. • Semi-automatic detection and localization of electrode coordinates using clustering and GridFit algorithms. • Brain shift correction using CEPA. • Automatic anatomical labeling of electrodes. • Generation of an iElectrodes localization project file. • Exporting electrode coordinates into formats compatible with Fieldtrip, EEGLAB, and text reports. • Integration with further analysis workflows. This session is intended for both clinical and cognitive neuroscience research users working with SEEG or ECoG. Attendees will leave with practical skills for reliable and reproducible electrode localization, ready to apply to their own datasets.

• Alejandro Omar Blenkmann (2025). Auditory Prediction and Its Neural Correlates. doi: https:/csan2025.saneurociencias.org.ar/symposia/neurophysiological-bases-of-memory-consciousness-and-interoception-in-humans-from-the-neuron-to-neural-networks/. Fulltekst i vitenarkiv Vis sammendrag

  This panel presents research on the neural mechanisms underlying auditory prediction—a fundamental process for the perception of sound, language, and music. Evidence is presented on how the brain anticipates and processes auditory stimuli through neural networks that integrate prior sensory information, thereby facilitating the interpretation of speech and complex musical structures. Using neurophysiological and neuroimaging studies, researchers have identified the neural correlates of auditory prediction in regions such as the auditory cortex and areas involved in memory and attention. Additionally, computational models are analyzed to explain how the brain dynamically adjusts its expectations in response to variations in auditory stimuli.

• 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?

• Hugh Alexander von Arnim, Anna-Maria Christodoulou, Kayla Burnim, Finn Upham, Tejaswinee Kelkar & Alexander Refsum Jensenius (2025). LightHearted—A Framework for Mapping ECG Signals to Light Parameters in Performing Arts. Fulltekst i vitenarkiv
• Diana Saplacan Lindblom & Natalia Murashova (2025). AI in Society: Virtual and Physical AI. doi: https:/www.uio.no/om/samarbeid/skole/fagped-dag/program.html. Fulltekst i vitenarkiv Vis sammendrag

  This talk explores the evolving landscape of artificial intelligence in various societal contexts, focusing on the integration and implications of AI (virtual) tools such as e.g., ChatGPT, Microsoft Copilot, but also the use of "physical AI", such as in social robots. It showcases practical cases, showing some insights from our initial fieldwork applying the Ethical Risk Assessment of AI in practice (ENACT) in various private and public (learning) organizations, as well as some insights from our work within Human-Robot Interaction and social robots area in the Vulnerability in Robot Societies (VIROS), Predictive and Intuitive Robot Companion (PIRC) research projects, and our recently funded ROBOts as Welfare Technologies and Actors for ELderLy Care: A Nordic Model for Integration of Advanced Assistive Technologies (ROBOWELL) project.

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

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

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

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

• Benedikte Wallace (2025). PØNSJ: Kunstig Intelligens i musikk. [Radio]. NRK. Fulltekst i vitenarkiv
• Benedikte Wallace (2025). AI anno 2025: Dette må du vite. doi: https:/try.no/tjenester/kommunikasjon-og-pr/arendalsuka-2025. Fulltekst i vitenarkiv
• Jim Tørresen, Edson Prestes, Praminda Caleb-Solly, Yueh Hsuan Weng & Shin Watanabe (2025). CASE 2025 Workshop on Ethical Considerations in Robotics and Automation (WECRA). doi: https:/sites.google.com/view/robot-ethics-case2025-workshop. Fulltekst i vitenarkiv
• Jim Tørresen (2025). Keynote: Techno-Ethical Considerations when Applying Machine Learning in Real-world Systems. doi: https:/www.icmlt.org/2025.html. Fulltekst i vitenarkiv
• Jim Tørresen (2025). Invited talk: Intelligent Robotics in Healthcare. Fulltekst i vitenarkiv
• Jim Tørresen (2025). Guest lecture: Intelligent Robotics in (Home) Healthcare. Fulltekst i vitenarkiv
• Diana Saplacan Lindblom (2025). Overview of my research: background, results, experiences, publications and future directions. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Technologies supporting research on music-related body motion. doi: https:/www.liser.lu/events/EXPAR2025-09-18. Fulltekst i vitenarkiv Vis sammendrag

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

• Diana Saplacan Lindblom (2025). "The Wooden Gripper Was Warmer and Made the Robot Less Threatening"– a Study on Perceived Safety Based on Robot Gripper’s Visual and Tactile Properties. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Video Visualization - Learn to use MG Toolbox. doi: https:/www.liser.lu/events/EXPAR2025-09-19. Fulltekst i vitenarkiv Vis sammendrag

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

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

  A presentation for the Ukrainian Research Council.

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

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

• Alexander Refsum Jensenius (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.

• Olivier Lartillot (2025). Computational music analysis. Fulltekst i vitenarkiv
• Thomas Wosch, Bastian Vobig & Olivier Lartillot (2025). Human Interaction assessment and Generative segmentation in Health & Music. doi: https:/www.youtube.com/watch?v=I4jaZIzX0wg. Fulltekst i vitenarkiv Vis sammendrag

  Improvisation in music therapy has been shown to be an effective technique for engaging clients in emotionally rooted (inter)action to treat affective disorders such as major depression (Aalbers et al., 2017; Erkkilä et al., 2011). During improvisation, however, a variety of musical information is exchanged, resulting in a highly complex musical and interpersonal situation. While traditional models of music therapy analysis emphasise aural analysis and assessment of single sessions (Bruscia, 1987), more recent and elaborated methods, such as microanalysis, focus on the detailed development of improvisation sessions (Wosch, 2021; Wosch & Erkkilä, 2016), which comes at the cost of a more time-consuming application process. Digital processing, as in music information retrieval and machine learning, seems promising to accelerate the analysis process, but requires considerable preliminary work in data preprocessing and formalisation of the high-level concepts used in music therapy to develop a suitable dataset for model training. Moreover, additional benefits of digital processing comprehend a more detailed and precise analysis of musical data.

• Marina Sudo, Michelle Ziegler, Miriam Akkermann & Olivier Lartillot (2025). Towards Collaborative Analysis: Kaija Saariaho’s Io (1986–87). Fulltekst i vitenarkiv
• Marina Sudo & Olivier Lartillot (2025). Contemporary Music Analysis and Auditory Memory: The Use of Computational Tools as an Aid for Listening. doi: https:/fabricadesites.fcsh.unl.pt/ncmm/ncmm-2025-program/. Fulltekst i vitenarkiv Vis sammendrag

  Music analysis involves categorising and interpreting sonic elements to uncover the structure and meaning of a work. In contemporary music studies, analysts often face methodological challenges in this process, especially when dealing with works that contain high degrees of complexity and ambiguity in terms of timbre, texture and temporal structure. This paper proposes a methodological model for analysing spatiotemporal complexities commonly observed in contemporary repertoires, utilising computational tools to enhance auditory memory and expand interpretative possibilities. Auditory memory plays a pivotal role in aural analysis, an approach that serves as a valuable alternative or complement to traditional score-based analysis. Rooted in Pierre Schaeffer’s typomorphology of objets sonores and the work of other analysts in electroacoustic music studies, the general principles of aural analysis can be outlined in a three-step process: 1) attentive listening to the acoustic properties of sounds, 2) describing and categorising their sonic variations, and 3) assessing their functions within a large-scale formal structure. Computational sound visualisation tools are frequently employed in this process to assist in transcribing and retaining musical events that are either absent from the score or difficult to interpret aurally due to textural complexities and/or timbral elusiveness. Despite their increasing use, however, the full potential of these tools remains largely unexplored in contemporary music studies. By digitally decomposing the transformation processes of ambiguous musical flows and supporting the organisation and structuring of auditory memory, computational analysis of audio data and various visualisation methods can deepen our understanding of both local sonic morphology and large-scale formal trajectory. In line with these considerations, the paper investigates how specialised computer interfaces can facilitate music analytical processes. Two research questions guide this investigation: 1) How can we analyse a stream of sonic textures; and 2) How can we outline the formal structure of a work that embraces extremes of sonic energy and polyrhythmic intricacy? To explore these questions, we have developed muScope, a new computer program that enables users to browse within high-resolution sonograms in tandem with a range of graphical representations capturing audio, timbral, rhythmic and structural descriptions. The analysis of spectral “fluctuations” allows for the identification of rapid pulsations at the middle ground between rhythm and timbre. Self-similarity matrix representations can serve as a tool for outlining the structural division of the audio data based on various sonic attributes. We integrate these visual representations into an analytical workflow designed to support the construction of a composition’s formal structure. Our methods are demonstrated through an analysis of excerpts from Kaija Saariaho’s Io for large ensemble and electronics (1986–87) and Raphaël Cendo’s Corps for piano and ensemble (2015). This integrated analytical approach offers new insights into the interplay between musical perception, memory and analytical interpretation using digital tools.

• Anna-Maria Christodoulou, Kyrre Glette, Olivier Lartillot & Alexander Refsum Jensenius (2025). MusiQAl: Music Question Answering through Audio-Video fusion. doi: https:/ismir2025.ismir.net/program-detailed-schedule. Fulltekst i vitenarkiv
• Anna-Maria Christodoulou (2025). The Benefits of Multimodal MIR in Computational Analysis of Music Therapy Improvisation. doi: https:/ifas.thws.de/fileadmin/user_upload/250917_HIGH-M_Symposium_Programme_updated.pdf. Fulltekst i vitenarkiv
• Olivier Lartillot (2025). Computational Music Analysis Applied to Music Therapy Improvisation. doi: https:/ifas.thws.de/fileadmin/user_upload/250917_HIGH-M_Symposium_Programme_updated.pdf. Fulltekst i vitenarkiv
• Olivier Lartillot (2025). Computational Music Analysis: Toolbox and application to music psychology & therapy. Fulltekst i vitenarkiv
• Anna-Maria Christodoulou & Olivier Lartillot (2025). A Multimodal Dataset of Greek Folk Music. doi: https:/dlfm.web.ox.ac.uk/2025-programme. Fulltekst i vitenarkiv
• Balint Laczko (2025). Presentation of PhD project: Perceptually Aligned Deep Image Sonification. doi: https:/comma.eecs.qmul.ac.uk/creative-audio-synthesis-and-interfaces-workshop/. Fulltekst i vitenarkiv Vis sammendrag

  Imaging technology has dramatically expanded our understanding of biological systems. This overabundance of images has come with unique problems, such as visual overload, which can potentially obscure data relationships and induce eye fatigue or divert vision from important tasks. Image sonification offers potential solutions to these problems by channeling data into the auditory domain, leveraging our natural pattern recognition skills through hearing. In my PhD project I have been exploring the potential of Machine Learning in solving the two fundamental challenges of image sonification: the perceptually aligned representations of images and sounds, and the cross-modal mapping between them. In this talk I will present my journey through timbre spaces, Differentiable DSP, and cross-modal domain transfer in search of new methods for image sonification.

• Balint Laczko (2025). C2HO Workshop on Image Sonification with Pixasonics. doi: https:/www.hf.uio.no/imv/english/research/networks/creative-computing-hub-oslo/pages/c2ho-workshops/image-sonification-workshop.html. Fulltekst i vitenarkiv Vis sammendrag

  How can we turn images into sound? And what can we learn about those images by listening? Why listen instead of looking? These are some questions Bálint Laczkó's research on image sonification aims to find answers to. Bálint has been researching applications of image sonification in biology and medical research and started working on a toolbox for Python, which he will be presenting during this workshop. The toolbox originates from bio-medical research, but it can also be used creatively for sound design. Bring your laptop with Python (or Anaconda) installed, and some images you'd like to squeeze some sounds out of!

• Balint Laczko (2025). Insight Through Sound: Image Sonification in Biology Research. doi: https:/www.uio.no/forskning/satsinger/livsvitenskap/livsvitenskapskonferansen/2025/sidearrangementer/workshop/insight-through-sound-image-sonification-in-biolog.html. Fulltekst i vitenarkiv
• Balint Laczko (2025). Oral presentation on ICAD 2025 about Pixasonics: An Image Sonification Toolbox for Python. 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.

• Saira Jameela Hübenette (2025). Spatial and temporal processing of auditory stimuli. Fulltekst i vitenarkiv Vis sammendrag

  Tracking a moving sound in space requires continuous prediction of its next location. This implies that we must combine information about the time and location of the sound, to accurately predict its trajectory. Using EEG, auditory motion processing has previously been found in frontal, central, and parietal areas of the brain. Prior studies have suggested that space and time for auditory stimuli are processed separately in the brain. Despite the seemingly distinct processing pathways of spatial and temporal sound information, they must integrate at some stage to enable the prediction of movement. It remains unknown if these processes are initially working in parallel and then converging at some point, or if there are several instances of convergence throughout. The goal of this study is to delineate the neural correlates of spatial and temporal processing of moving sounds, and to assess how and when they converge to aid in the tracking of the sound movement.

• Kjell Andreas Oddekalv, Terje Bjørkheim, Magnus Ugstad, Bendik Walderhaug, Erik Hole & Anders Ruud Sørli (2025). Sinsenfist på ROSA-konferansen 2025. Fulltekst i vitenarkiv
• Saira Jameela Hübenette, Anne-Kristin Solbakk, Anne Danielsen, Tor Endestad & Alejandro Omar Blenkmann (2025). Hearing in motion: Spatial and temporal processing of auditory stimuli. doi: https:/www.dropbox.com/scl/fi/ijya3kj1w1dl2e7vyjo5y/ICAC25-poster.pdf?rlkey=2516eohjz9vyx3g7qj7rjsedc&st=wm335i35&dl=0. Fulltekst i vitenarkiv Vis sammendrag

  Tracking a moving sound in space requires continuous prediction of its next location. This implies that we must combine information about the time and location of the sound, to accurately predict its trajectory. Using EEG, auditory motion processing has previously been found in frontal, central, and parietal areas of the brain. Prior studies have suggested that space and time for auditory stimuli are processed separately in the brain. Despite the seemingly distinct processing pathways of spatial and temporal sound information, they must integrate at some stage to enable the prediction of movement. It remains unknown if these processes are initially working in parallel and then converging at some point, or if there are several instances of convergence throughout. The goal of this study was to delineate the neural correlates of spatial and temporal processing of moving sounds, and to assess how and when they converge to aid in the tracking of the sound movement.

• Kjell Andreas Oddekalv, Bendik Walderhaug, Terje Bjørkheim, Magnus Ugstad, Anders Ruud Sørli & Erik Hole (2025). Sinsenfist på Bilkollektivets 30-års-jubileum. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv, Terje Bjørkheim, Erik Hole, Bendik Walderhaug, Anders Ruud Sørli & Magnus Ugstad (2025). Sinsenfist på Audunbakken 2025. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv, Bendik Walderhaug, Erik Hole, Terje Bjørkheim, Magnus Ugstad & Anders Ruud Sørli (2025). Sinsenfist på Festival Bohem 2025. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv (2025). Manifesting the Rapping Chimera. Fulltekst i vitenarkiv Vis sammendrag

  In Albert Bregman’s Auditory Scene Analysis, he describes “chimeric percepts” – auditory streams we hear as “one”, which in reality originates from multiple different sound sources. In music, however, this apparent failure of our perceptual system is treated as a feature rather than a bug. In hip-hop music, there has been a tradition of emphasising key words and syllables either live – via “hypepersons” doubling the lead vocalist, or in the studio – by stacking vocal tracks in various ways. These doublings – the chimericity, or degree to which a stream is perceived as one or many – can be transparent or opaque to the listener, and is yet another manipulable parameter for aesthetic effects in the modern producer’s arsenal. In this presentation, different techniques and approaches of summoning and taming the rapping chimera will be showcased through an original track produced and recorded especially for AR@K. What is the truth of the chimera? Is it one beast or an amalgamation of multiple? Or is it really both, and is that the creature’s very reason to exist?

• Kjell Andreas Oddekalv (2025). Chimericity in the Orchestration of Rap Vocals. Fulltekst i vitenarkiv Vis sammendrag

  In hip-hop music, the layering and sequencing of vocal tracks is an integral part of the compositional process. Ranging from simple “backtracks” adding subtle emphasis to key words and syllables to intricate interplay between emcees and/or effects-processed supernatural simulacra – these techniques can be understood, differentiated between and recreated using the conceptual framework of chimericity. Albert Bregman describes chimeric percepts as an error in our auditory scene analysis – a failing to identify that a sound originates with multiple sources rather than a singular one. He also notes that in music such chimeric passages are considered a feature rather than a bug. Nowhere is this as evident as in hip-hop music. This paper will introduce the concept of chimericity. How it can be more or less transparent or opaque. How it can be layered and/or sequential (vertical/horizontal). How it can be influenced via mode and voice. How it relates to central aspects of Black American aesthetics such as Tricia Rose’s (via Artur Jafa) concept of flow, layering and rupture(s) in line, Olly Wilson’s heterogeneous sound ideal and more broadly to Signifyin(g) as theorized by Henry Louis Gates, Jr. Eileen Southern urges us to perform and create Black music to understand and analyse it. As analysts we should take inspiration from practitioners’ workflows. Using audio waveforms across multiple tracks in a DAW arrangement/timeline view is one intuitive visualization of chimericity (among others) this paper will showcase.

• Jonna Katariina Vuoskoski, Lieke Perik, Christian Dyhre Foldal & Jan Stupacher (2025). Rhythmic complexity and trait empathy modulate internal motor simulation in response to music. Fulltekst i vitenarkiv
• Vinícius Rezende Carvalho (2025). Speech decoding with DDA. doi: https:/snl.salk.edu/~claudia/DDALAB/workshop.html. Fulltekst i vitenarkiv
• Vinícius Rezende Carvalho, Santiago Collavini, Alejandro Nasimbera, Silvia Kochen, Anne-Kristin Solbakk & Alejandro Omar Blenkmann (2025). Single-Neuron Evidence for Attention and Prediction Error to Nested Auditory Regularities in the Human Auditory Cortex. doi: https:/2025.ccneuro.org/abstract_pdf/Carvalho_2025_Single-Neuron_Evidence_Attention_Prediction_Error_.pdf. Fulltekst i vitenarkiv
• Sara D'Amario & Alexander Refsum Jensenius (2025). Workshop on Women Musicians Wellbeing. doi: https:/www.uio.no/ritmo/english/news-and-events/events/workshops/2025/women-wellbeing/. Fulltekst i vitenarkiv
• Sara D'Amario, Andreas Løve, Maja Dyhre Foldal & Alexander Refsum Jensenius (2025). Functional Near Infrared Spectroscopy (fNIRS) Responses of Professional Violinists during Orchestra Performances. Fulltekst i vitenarkiv
• Sara D'Amario (2025). Well-being Experiences of Professional Women Musicians during Live Concert Performances. Fulltekst i vitenarkiv Vis sammendrag

• Sigmund Johannes Ljosvoll Rolfsjord, Hugh Alexander von Arnim, Safia Fatima & Adel Baselizadeh (2025). Multimodal Transfer Learning for Privacy in Human Activity Recognition. Fulltekst i vitenarkiv
• Anne Danielsen (2025). The TIME project. doi: https:/www.uio.no/ritmo/english/news-and-events/events/workshops/2025/paradata/. Fulltekst i vitenarkiv
• Anne Danielsen (2025). Intervju om "Take on Me". [Radio]. NRK-P2. Fulltekst i vitenarkiv
• Alejandro Omar Blenkmann (2025). The role of the Orbitoforontal cortex in building predictions and detecting violations. Fulltekst i vitenarkiv
• Alejandro Omar Blenkmann, Sabine Liliana Leske, Vegard Akselsson Volehaugen, Vinicius Rezende Carvalho, Silvia Kochen & Tor Endestad [Vis alle 10 forfattere av denne artikkelen] (2025). Intracranial high-frequency activity and oscillatory cortical dynamics of auditory prediction error propagation in humans. doi: https:/www.maastrichtuniversity.nl/file/icac2025abstracts-2025-09-11pdf. Fulltekst i vitenarkiv
• Anne Danielsen, Martin Torvik Langerød & Justin London (2025). Where is the Beat in that Complex Note? Effects of Instrument Asynchrony and Attack on the Perceived Timing of Compound Musical Sounds. doi: https:/www.jyu.fi/en/file/rppw20programmeandabstracts-5pdf. Fulltekst i vitenarkiv Vis sammendrag

  In musical ensembles most notes/chords are sounded by more than one instrument at the same time, and we hear them as simultaneous, even when their onsets are not precisely simultaneous. Here we obtain estimates for the perceptual centers of such compound sounds when there are microtiming asynchronies between the instruments. In Exp1 three combinations of fast-attack instruments (acoustic kick drum/synthetic kick, kick/hi-hat, kick/bass) were presented with five levels of instrument asynchrony relative to the kick (-40, -20, 0, 20, and 40 ms); the ISI was 600ms (100 bpm) and the task was to align a click with the compound sound. An RMANOVA shows main effects (p<.001) of Asynchrony and Instrument combination, and a U-shaped relationship between Asynchrony and P-center, such that asynchrony in both directions relative to the kick (kick early and kick late) delays the P-center for the compound sound. In Exp2 we used combinations of fast and slow attack instruments. Ten combinations (three fast-attack–fast-attack, three slow-attack–slow-attack, four fast-attack–slow-attack) were presented with seven levels of instrument asynchrony: -80, -40, -20, 0, 20, 40, 80. RMANOVAs of the results revealed different relationships between asynchrony and P-center (p<.001): Fast/fast attack combinations replicated the U-shape of experiment 1. In fast/slow combinations, the P-center followed the fast-attack instrument linearly, and in the slow/slow combinations, P-centers followed the higher-pitched instrument. P- centers of compound sounds depend on both the asynchrony between the instruments and the shape of their attacks. Combinations of fast-attack instruments with extreme asynchrony produce bimodal distributions, indicating perceptual segregation of the two sounds. The findings align with studies showing that sharp sounds are used as landmarks for segmentation and timing in speech and music.

• Alejandro Omar Blenkmann, Sabine Liliana Leske, Vegard Akselsson Volehaugen, Vinicius Rezende Carvalho, Silvia Kochen & Tor Endestad [Vis alle 8 forfattere av denne artikkelen] (2025). Spatiotemporal dynamics of auditory prediction error propagation via intracranial EEG in humans. doi: https:/www.frm2025oslo.no/s/FRM2025_AbstractBook.pdf. Fulltekst i vitenarkiv
• Justin London, Thea Sørli Paulsrud & Anne Danielsen (2025). Musical expertise affects the rhythmic perception of sung and spoken speech syllables: The effect of top-down motor representations. doi: https:/www.jyu.fi/en/file/rppw20programmeandabstracts-5pdf. Fulltekst i vitenarkiv Vis sammendrag

  Previous research (Danielsen et al. 2022) has shown that musical expertise affects the perception of the temporal location (i.e., P-center) of an instrumental sound. Here we extend this research to the context of vocal music. In two experiments expert singers in jazz and classical genres were presented with a range of stimuli, including neutral Stimuli (e.g., noise bursts, clicks), vowel sounds sung by jazz and classical singers, and spoken versions of the vowel sounds. As with our previous study, neutral stimuli produce largely the same responses in both participant groups, while a linear mixed model showed that jazz participants placed their p-centers earlier (22 ms; p=.044) and with lower variability (21 ms; p = .025) than classical participants. Contra our hypothesis, the between-group differences for P-center location and variability persisted in the context of spoken sounds. Why should this be so? Expert musicians develop highly specific motor representations of their own actions and use them when singing and playing. For singers, these these models overlap with speech production more generally. This could explain the carry-over to speech stimuli. Likewise, the vocal stimuli presented our participants with not only acoustic cues for the P-center location of the sounds themselves, but also cues for synchronizing individual actions in performance (coordinating the behaviors that produce the sounds with others). This indicates that the vestiges of joint action that remained in our experimental context were enough to engage their top-down sensorimotor models, as would be used in an actual singing or speaking context.

• Anne Danielsen (2025). Rytme og kognisjon - sansning, struktur og samspill. Fulltekst i vitenarkiv
• Rainer Polak (2025). The musical beat is multimodal. Fulltekst i vitenarkiv
• Rainer Polak (2025). Music is Multimodal: A Multi-Data Corpus of Music and Dance Derformance. Fulltekst i vitenarkiv
• Francesca Barbero, Tomas Lenc & Rainer Polak (2025). Rhythm categorization is present in human newborns and further shaped across the lifespan. Fulltekst i vitenarkiv
• Tomas Lenc, Francesca Barbero & Rainer Polak (2025). Revealing rhythm categorization in human brain activity. Fulltekst i vitenarkiv
• Ségolène Guérin, Emmanuel Coulon, Tomas Lenc, Rainer Polak, Peter Keller & Sylvie Nozaradan (2025). Culture-Driven Plasticity and Imprints of Body-Movement Pace on Musical Rhythm Processing. Fulltekst i vitenarkiv
• Rainer Polak, Sagar Dutta, Georgios Psaroudakis, Justin London & Nori Jacoby (2025). The musical beat is multimodal. Fulltekst i vitenarkiv
• Rainer Polak, Sagar Dutta, Georgios Psaroudakis, Justin London & Nori Jacoby (2025). Music is multimodal: introducing a multi-data corpus of music and dance performance. Fulltekst i vitenarkiv
• Baptiste Bacot (2025). Mr. Bill: a case study of the entangled platforms of electronic music production. Fulltekst i vitenarkiv Vis sammendrag

  Mr. Bill is a professional producer and educator who has been publishing content for over fifteen years. As an Ableton Live expert user, he regularly livestreams his music production sessions on Twitch. This content—the video files, the Ableton Live sets, and other resources as well—is available on his website (mrbillstunes.com). Additionally, Mr. Bill is the founder of Billegal Beats, a music and sample pack label that publishes material on music streaming platforms and Splice, respectively. These activities, along with music releases, touring, merchandising sales, are promoted and discussed on a dedicated Discord server. Mr. Bill is therefore serves as a perfect case for questioning the entangled platforms that support electronic music production on various levels. By exploring the material Mr. Bill has generated over the last decade, this paper addresses two questions regarding research methodology and musical creativity. Firstly, it examines the issues surrounding the value of music platformization data: how can the wealth of digital information generated be leveraged for empirical musicology and popular music studies? Secondly, it engages with the impacts of platformization on musical creativity: whereas music production has always been a covert activity, it is now conducted in semi-public and interactive formats where viewers can watch and comment. What is the weight of this new setting on the creativity of the producers and eventually, on the final product? Concluding remarks will highlight the layered and interdependent structure of platforms as key factor for building a successful career, while also reassessing the so-called “democratization” that companies claim to bring through their digital products.

• Baptiste Bacot (2025). Sampling and resampling in Bass music. A musicological perspective from the DAW. Fulltekst i vitenarkiv Vis sammendrag

  This presentation explores sampling practices in EDM production. Sampling involves extracting audio fragments from preexisting records and using them in new musical contexts. Though rooted in post-WW2 avant-garde music, sampling is now ubiquitous across numerous musical genres. Despite its longstanding use, it is most often examined from a legal and copyright perspective (Demers 2006; Brøvig 2023), whereas musicological aspects—more complex than they appear at first glance—are often overlooked. Although detailed accounts of sampling are scarce, they do exist (Butler 2014; Déon 2020; Harkins 2020) and encourage conceptualization at the intersection of creativity and technology. Following this route, and leveraging Ratcliffe’s (2014) typology of sampled material within EDM, as well as drawing inspiration from sketch studies (Sallis 2015), this paper examines a collection of Ableton Live projects (.als files) and video live streams by senior producer, DJ, and educator Mr. Bill. Analyzing this material reveals the sampling stages clearly, along with the digital processing that follows the import of sounds into the project. This investigation highlights various sampling techniques, particularly resampling, which involves sampling sounds from within the DAW. This self-sampling approach allows producers to create new sounds from existing materials within the current project through the signal routing capabilities of the software. Consequently, sampling becomes an internal process for generating new sonic material without needing external sounds. This study contributes to a better understanding of the technological practices in hyper-contemporary popular music by shedding light on the micro-level implications of recording as a technology.

• Diego Marin-Bucio (2025). Matriz de Movimiento Maquínico (MMM): Una herramienta conceptual sobre la creación de danza humano-máquina. doi: https:/masters.filescat.uab.cat/muet/classe-magistral-amb-diego-marin-bucio/. Fulltekst i vitenarkiv Vis sammendrag

  This lecture introduces a conceptual framework for mapping the ontological roles of technology in choreographic creation. Drawing on case studies of AI-integrated works, it examines human–machine interaction and the redistribution of agency across dancers, choreographers, and computational systems. The resulting framework offers a practical tool for distinguishing when AI functions as an instrument and when it participates as an active co-creator in dance.

• Diego Marin-Bucio (2025). Co-creation of rhythm in Djembe Music-Dance. Fulltekst i vitenarkiv Vis sammendrag

  This talk examines the intricate and reciprocal relationship between music and dance in the context of Djembe rhythms. At the heart of these celebrations lies a unique interplay where rhythm serves as both a foundation and a catalyst for collective expression. Alongside Djembe playing, dancers and musicians engage in a dynamic process of mutual influence, creating a multimodal dialogue that evolves in real time. The discussion explored how rhythm emerges, not as a static entity, but as a shared negotiation where movement and sound coalesce to generate meaning and aesthetic congruence. Central to this process is the interplay between music and dance through structured improvisational elements, which provide a double-encoded catalyst that works as a framework and as a creative stimulus. Through video recordings and a comparative analysis of Djembe music and dance structures, I illustrate how this rhythmic catalyst takes shape through elastic sound and movement phrases that influence the decision-making of both, dancers and musicians. This study reveals that Djembe's rhythms transcend unimodal agency to become a collective/multimodal phenomenon. The insights gained underscore the transformative power of rhythm in co-creative processes, offering remarkable perspectives on performance, dialogue, and the interplay between sound and movement.

• Hugh Alexander von Arnim, Cagri Erdem, Ulysse Teller Masao Côté-Allard & Alexander Refsum Jensenius (2025). A Sensor is not a Sensor: Diffracting the Preservation of Sonic Microinteraction with the SiFiBand. Fulltekst i vitenarkiv Vis sammendrag

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

• Guilherme Schmidt Câmara (2025). Just Noticeable Difference Thresholds of Musical Microrhythm (Asynchrony and Non-isochrony) in Multi-Instrumental Groove-based Performance. Fulltekst i vitenarkiv Vis sammendrag

  Musicians can convey different ’timing feels’ in performance by manipulating asynchronies between instrument onsets (’behind’/’ahead’/’on-beat’) as well as the degree of non-isochrony within metrical subdivisions (’straight’/’swung’). The extent to which we can perceive such microtiming nuances has only yet been examined in non-/quasirhythmic contexts involving monotonic and single-layered stimuli, with mixed results regarding effect of musicianship. Studies have also found that pupil size increases linearly with asynchrony magnitude, but not yet examined non-isochrony. We measured the just noticeable difference (JND) thresholds of asynchrony (Exp. 1) and non-isochrony (Exp. 2) in a naturalistic, multi-layered groove (funk pattern, IOI 143ms) with 5 instruments (guitar/bass/kick/snare/hi-hat). Using a 1IFC staircase and global displacements of individual instrument layers (asynchrony: 1-100ms [early/late], non-isochrony: +1-71.5ms [late]), we tasked participants (N=64; musicians N=32; non-musicians N=32) to determine whether instruments were playing; "together" with or "before/after" other instruments (Exp. 1); and with "straight/even" or "swung/uneven" rhythm (Exp. 2). Pupil response was also measured. As expected, JND thresholds were higher than reported in previous literature (+4%/+2% of IOI for asynchrony and non-isochrony, respectively) likely due to greater attentional ’noise’ from additional simultaneously playing instruments, and lower for for musicians (14%/16%) than for non-musicians (22%/24%) due to greater training in the perception/ production of musical microrhythm. For the first time, we also demonstrate an effect of both Instrument and Timing displacement, where onset displacements were harder to detect: in string (22%/24%) rather than drum (15%/18%) instruments - likely due to perceptually ’fuzzier’ acoustic attack profiles; and in late (20%) rather than early (16%) displacements - likely due to forward acoustic masking effects. We also found a linear relationship between pupil size and both asynchrony and non-isochrony, further indicating that the pupil indexes mental effort in auditory processing of microrhythm more generally.

• Ralf von Appen, Trevor de Clercq, Anne Danielsen, Stephanie DeLane Doktor & Allan Moore (2025). Studying the Fish and/or the Water?. A Discussion About the Past, Present, and Future of Popular Music Theory in Europe and the U.S. Zeitschrift der Gesellschaft für Musiktheorie (ZGMTH). ISSN 1862-6750. 22(1), s. 29–29. doi: 10.31751/1220. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). MishMash, musikk og kunstig intelligens. Fulltekst i vitenarkiv
• Agata Zelechowska (2025). Riktig musikk til trening øker prestasjonene betydelig. [Internet]. Nettavisen. Fulltekst i vitenarkiv Vis sammendrag

  Du blir beviselig raskere og bedre av en god spilleliste til trening, ifølge forskere. Velger du riktig er det faktisk umulig å stå stille.

• 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.

• Lars Løberg Monstad (2025). Bandet har millioner av avspillinger på Spotify uten å eksistere: – Problematisk. [Internet]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  Kunstig intelligens vil prege musikkproduksjon fremover, tror musikkbransjen. – Det føles meningsløst å lage musikk manuelt, sier musiker i Brenn.

• Laura Bishop (2025). Individuality and collectivity in professional orchestra string sections: Gauging the strength of coordination in body motion. Fulltekst i vitenarkiv
• Oliver Miles, Adrian Hazzard, Solomiya Moroz, Laura Bishop & Craig Vear (2025). Meaningful interactions in human-AI musicking. Fulltekst i vitenarkiv
• Laura Bishop (2025). Bodies in Concert: Assessing group coordination in live concert settings. Fulltekst i vitenarkiv
• Vinicius Rezende Carvalho, Santiago Collavini, Silvia Kochen, Anne-Kristin Solbakk & Alejandro Omar Blenkmann (2025). Amygdala Responses to Auditory Prediction Violations: Evidence from Human Single-Neuron Recordings. doi: https:/static1.squarespace.com/static/66795375ff6aa75dff1c9eac/t/685e37792a21147062408469/1751005079975/FRM2025_AbstractBook.pdf. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). CoARA principles in practice. Insights from a crossdisciplinary Centre of Excellence. Fulltekst i vitenarkiv Vis sammendrag

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

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

  Kan personlighetstrekket avgjøre om du liker å danse?

• 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?

• Jonna Katariina Vuoskoski (2025). The role of empathy in interpersonal coordination. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius, Åshild Watne, Arnt Maasø & Vetle Agledahl (2025). Musikksnakk: Allsang. Fulltekst i vitenarkiv Vis sammendrag

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

• Alexander Refsum Jensenius (2025). Hvor er vi på vei? Fremtidens høyere utdanning. Fulltekst i vitenarkiv
• Jonna Katariina Vuoskoski, Lieke Perik, Christian Dyhre Foldal & Jan Stupacher (2025). Groove and rhythmic complexity modulate internal motor simulation in response to music. Fulltekst i vitenarkiv
• Björn Thor Jónsson (2025). Facilitating serendipitous sound discoveries with simulations of open-ended evolution. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). Forskningsfronten. Hva sier den nyeste forskningen oss? [Radio]. NRK P2 Studio 2. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius (2025). NOR-CAM og RITMO. Erfaringer fra et interdisiplinært senter. Fulltekst i vitenarkiv Vis sammendrag

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

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

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

• Jonna Katariina Vuoskoski, Christian Dyhre Foldal, Lieke Perik & Jan Stupacher (2025). Trait empathy modulates internal motor simulation in response to rhythmic stimuli. Fulltekst i vitenarkiv
• Heidi Ormstad & Alexander Refsum Jensenius (2025). Helseforskning: Åpenhetens balansegang. Fulltekst i vitenarkiv Vis sammendrag

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

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

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

• Diego Marin-Bucio (2025). Matriz de Movimiento Maquínico (MMM). Fulltekst i vitenarkiv Vis sammendrag

  This lecture introduces a conceptual framework for mapping the ontological roles of technology in choreographic creation. Drawing on case studies of AI-integrated works, it examines human–machine interaction and the redistribution of agency across dancers, choreographers, and computational systems. The resulting framework offers a practical tool for distinguishing when AI functions as an instrument and when it participates as an active co-creator in dance.

• Sabine Liliana Leske, Isak Elling August Støver, Anne-Kristin Solbakk, Tor Endestad, Julia Kam & Venke Arntsberg Grane (2025). Behavioral, electromyographic and electrophysiological indicators of altered deviance detection and mind wandering in adult ADHD. Fulltekst i vitenarkiv
• Sabine Liliana Leske, Alejandro Omar Blenkmann, Jamie Lubell, Anaïs Llorens, Pål Gunnar Larsson & Ingrid Funderud [Vis alle 12 forfattere av denne artikkelen] (2025). INTRACRANIAL CORRELATES OF ACTION-BASED AUDITORY PREDICTION ERRORS IN HUMANS. Fulltekst i vitenarkiv
• 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.

• Anne Danielsen (2025). RITMO. Forhistorien, idéen og prosessen. Fulltekst i vitenarkiv
• Kyrre Glette (2025). Biologically-inspired AI: A framework for designing adaptive robots. Fulltekst i vitenarkiv
• Olivier Lartillot (2024). Visualisation of Bartok First String Quartet, 1st movement. Fulltekst i vitenarkiv
• 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.

• Silje Pileberg & Marieke van Otterdijk (2024). Mennesket har én egenskap som KI og roboter ennå ikke har. [Internet]. Forskning.no. Fulltekst i vitenarkiv Vis sammendrag

  Marieke van Otterdijk jobber for å gi roboter intuisjon. – Hvis vi lykkes, er det flere etiske spørsmål vi må stille oss, sier hun.

• Jim Tørresen (2024). Invited talk: Ethics Integrated in Human-Robot Interaction Research. doi: https:/www.roboethics.design. Fulltekst i vitenarkiv
• Diana Saplacan Lindblom (2024). Healthcare Professionals’ Attitudes Towards Caregiving Through Teleoperation of Robots in Elderly Care. Seminar at RITMO Centre of Excellence for Time, Rhythm, and Motion. Fulltekst i vitenarkiv Vis sammendrag

  This week's Food and Paper will be given by Diana Saplacan.

• 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.

• Rachelle Esterhazy, Hugh Alexander von Arnim & Crina I. Damsa (2024). Multimodal learning analytics to explore key moments of interdisciplinary knowledge-construction. Fulltekst i vitenarkiv
• Sandra Solli, Anne Danielsen, Sabine Liliana Leske, Alejandro Omar Blenkmann, Keith Doelling & Anne-Kristin Solbakk [Vis alle 7 forfattere av denne artikkelen] (2024). Rhythm-based temporal expectations: Unique contributions of predictability and periodicity. Fulltekst i vitenarkiv Vis sammendrag

  Flexibly adapting to our dynamic surroundings requires anticipating upcoming events and focusing our attention accordingly. Rhythmic patterns of sensory input offer valuable cues for these temporal expectations and facilitate perceptual processing. However, a gap in understanding persists regarding how rhythms outside of periodic structures influence perception. Our study aimed to delineate the distinct roles of predictability and periodicity in rhythm-based expectations. Participants completed a pitch-identification task preceded by different rhythm types: periodic predictable, aperiodic predictable, and aperiodic unpredictable. By manipulating the timing of the target sound, we observed how auditory sensitivity was modulated by the target position in the different rhythm conditions. The results revealed a clear behavioral benefit of predictable rhythms, regardless of their periodicity. Interestingly, we also observed an additional effect of periodicity. While both periodic and aperiodic predictable rhythms improved overall sensitivity, only the periodic rhythm seemed to induce an entrained sensitivity pattern, wherein sensitivity peaked in synchrony with the expected continuation of the rhythm. The recorded event-related brain potentials further supported these findings. The target-evoked P3b, possibly a neural marker of attention allocation, mirrored the sensitivity patterns. This supports our hypothesis that perceptual sensitivity is modulated by temporal attention guided by rhythm-based expectations. Furthermore, the effect of rhythm predictability seems to operate through climbing neural activity (similar to the CNV), reflecting preparation for the target. The effect of periodicity is likely related to more precise temporal expectations and could possibly involve neural entrainment. Our findings suggest that predictability and periodicity influence perception via distinct mechanisms.

• David R. Quiroga-Martinez, Alejandro O. Blenkmann, Tor Endestad, Anne-Kristin Solbakk, Olivia Kim-McManus & John T. Willie [Vis alle 10 forfattere av denne artikkelen] (2024). Enhanced frontotemporal theta and alpha connectivity during the mental manipulation of musical sounds. Fulltekst i vitenarkiv
• Hugh Alexander von Arnim & Tejaswinee Kelkar (2024). The Shapeshifter: Motion Capture and Interactive Dance for Co-constructing the Body. Fulltekst i vitenarkiv
• 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.

• Diana Saplacan (2024). User Studies in HRI: A Qualitative Research Perspective. Fulltekst i vitenarkiv
• Diana Saplacan (2024). Social Robots and Socially Assistive Robots (SARs) within Elderly Care: Lessons Learned So Far. Fulltekst i vitenarkiv
• Anne Danielsen (2024). Interdisciplinary music research: gains and challenges (keynote). Fulltekst i vitenarkiv Vis sammendrag

  Interdisciplinary music research: gains and challenges Recent years have seen a steady increase in calls for interdisciplinary approaches to research from politicians, university administrators, and public and private funding agencies alike. Interdisciplinary research is needed, it is claimed, to solve many of the foundational crises faced by societies today. While interdisciplinary research holds great promise for large-scale problem-solving, it is also bedeviled by obstacles at the institutional and individual level that monodisciplinary research does not face to the same extent, such as insufficient infrastructure, organizational barriers, lower employability, and few well- established publication channels. Sometimes even more challenging, however, are the different research traditions of the disciplines involved, which might adhere to profoundly different methodological traditions, lack shared criteria for quality assessment, and even disagree regarding what counts as science. In this talk, I will address the gains and challenges of working across radically different disciplines in music research, sharing my experience from three highly interdisciplinary projects: the RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion; the MusicLab Copenhagen research concert; and the TIME project on musical microrhythm.

• Laura Bishop, Elpida Hadjidaki-Marder, Sarunas Ledas & Gunnar Liestøl (2024). Motion capture for augmented reality storytelling in archaeology and cultural heritage dissemination: Simulating an animal sacrifice at Ancient Phalasarna. Fulltekst i vitenarkiv
• 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.

• Abbigail Marie Fleckenstein, Jonna Katariina Vuoskoski & Suvi Saarikallio (2024). Being Musically Moved. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius, Kaja Kathrine Wendt, Veronica Ski-Berg & Aslaug Louise Slette (2024). S1E3 Forskerkarrierer - i tall og matriser. [Internet]. Podcast. Fulltekst i vitenarkiv Vis sammendrag

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

• Dana Swarbrick & Kjell Andreas Oddekalv (2024). LAB.prat: RITMO x Popsenteret Live & Livestreamed Concert with Dana & The Monsters and Conversation with Dr. Dana Swarbrick. Fulltekst i vitenarkiv
• 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.

• Vinicius Rezende Carvalho (2024). Da trajetória acadêmica à experiência no exterior (From academic trajectory to experience abroad). Fulltekst i vitenarkiv
• Laura Bishop (2024). Coordination and individuality in orchestral string sections. Fulltekst i vitenarkiv
• Abbigail Marie Fleckenstein, Jonna Katariina Vuoskoski & Suvi Saarikallio (2024). Being Musically Moved. Fulltekst i vitenarkiv
• Anne Danielsen, Tuva Syvertsen, Askil Holm & Alexander Austlid (2024). Trenger vi utdanning i låtskriving og musikkproduksjon? Fulltekst i vitenarkiv
• Rainer Polak (2024). Embedded Audiency: Performing as Audiencing at Music-Dance Circle Events in Mali. Fulltekst i vitenarkiv
• Rainer Polak & Nori Jacoby (2024). Biological Constraints and Cultural Possibilities in Rhythm Perception. Fulltekst i vitenarkiv
• 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.

• Diana Saplacan (2024). Human Robot Interaction: Studies with Users. Fulltekst i vitenarkiv
• Thomas Talseth & Ragnhild Brøvig (2024). Kommentar til innlegget "Refser NRK for å la Gåte-låt konkurrere i Melodi Grand Prix". [Journal]. VG. Fulltekst i vitenarkiv
• Alejandro Omar Blenkmann, Vegard Akselsson Volehaugen, Vinicius Rezende Carvalho, Sabine Liliana Leske, Anais Llorens & Ingrid Funderud [Vis alle 14 forfattere av denne artikkelen] (2024). An intracranial EEG study on auditory deviance detection. Fulltekst i vitenarkiv
• Diana Saplacan (2024). Qualitative Observational Video-Based Study on Perceived Privacy in Social Robots’ Based on Robots Appearances. Fulltekst i vitenarkiv
• Alexander Refsum Jensenius & Anne Danielsen (2024). Tverrfaglighet: 40-grupper til besvær. Fulltekst i vitenarkiv Vis sammendrag

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

• Sandra Solli, Anne Danielsen, Sabine Liliana Leske, Alejandro Omar Blenkmann, Keith Doelling & Anne-Kristin Solbakk [Vis alle 7 forfattere av denne artikkelen] (2024). Rhythm-based temporal expectations: Unique contributions of predictability and periodicity. Fulltekst i vitenarkiv
• Kyrre Glette (2024). Evolutionary design of morphology and control for simulated and real-world robots. Fulltekst i vitenarkiv
• Benedikte Wallace (2024). Imitation or Innovation? Translating Features of Expressive Motion from Humans to Robots. Fulltekst i vitenarkiv
• Diego Antonio Marin Bucio (2024). Dancing Embryo: Danza y co-creatividad humano-IA. Fulltekst i vitenarkiv
• Jim Tørresen (2024). Ethical, Legal and Technical Challenges and Considerations. Fulltekst i vitenarkiv
• Diego Antonio Marin Bucio (2024). Dance in the unequal world of High Tech. Fulltekst i vitenarkiv
• Diego Antonio Marin Bucio (2024). Embodying the artificial: a multimodal human-machine performance. Fulltekst i vitenarkiv
• Diego Antonio Marin Bucio (2024). ¿Puede una IA bailar? Fulltekst i vitenarkiv Vis sammendrag

  Las reflexiones y resultados que se presentan en este artículo tienen su origen en la experiencia de diseñar un bailarín de inteligencia artificial y la posterior cocreación de danza humano-IA en el proyecto «Dancing Embryo» (Marin, Wallace y 6A9). La investigación gira en torno a tres etnografías que captan el proceso de colaboración entre humanos y máquinas para crear e interpretar danza. Esta investigación trasciende la mera innovación tecnológica para convertirse en una profunda indagación filosófica, que cuestiona la naturaleza y los límites del arte de la danza.

• Krzysztof Basiński, Tomasz Domżalski & Alejandro Omar Blenkmann (2024). The effect of harmonicity on mismatch negativity responses to different auditory features. Fulltekst i vitenarkiv
• Vinicius Rezende Carvalho, Santiago Collavini, Silvia Kochen, Anne-Kristin Solbakk & Alejandro Omar Blenkmann (2024). Human single-neuron responses to a local-global oddball paradigm. Fulltekst i vitenarkiv
• Anne-Kristin Solbakk (2024). Inhibitory control and impulsive actions in ADHD. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv (2024). “I’m sorry y’all, I often drift – I’m talking gift” Microrhythmic analysis of rap – categorization, malleability and structural bothness. Fulltekst i vitenarkiv
• Jim Tørresen (2024). Invitert foredrag: Vil vi ha roboter til å hjelpe oss når vi trenger hjelp? Fulltekst i vitenarkiv
• Olgerta Asko, Vegard Akselsson Volehaugen, Sabine Liliana Leske, Ingrid Funderud, Anaïs Llorens & Jugoslav Ivanovic [Vis alle 12 forfattere av denne artikkelen] (2024). Predictive encoding of deviant tone sequences in the human prefrontal cortex. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv (2024). Dr. Kjell: Hiphop 40 år i Norge. Fulltekst i vitenarkiv
• Olgerta Asko, Vegard Akselsson Volehaugen, Sabine Liliana Leske, Ingrid Funderud, Llorens Anais & Jugoslav Ivanovic [Vis alle 12 forfattere av denne artikkelen] (2024). Predictive encoding of deviant tone sequences in the human prefrontal cortex. Fulltekst i vitenarkiv Vis sammendrag

  The ability to use predictive information to guide perception and action relies heavily on the prefrontal cortex (PFC), yet the involvement of its subregions in predictive processes remains unclear. Recent perspectives propose that the orbitofrontal cortex (OFC) generates predictions about perceptual events, actions, and their outcomes while the lateral prefrontal cortex (LPFC) is involved in prospective functions, which support predictive processes, such as selective attention, working memory, response preparation or inhibition. To further delineate the roles of these PFC areas in predictive processing, we investigated whether lesions would impair the ability to build predictions of future events and detect deviations from expected regularities. We used an auditory deviance detection task, in which the structural regularities of played tones were controlled at two hierarchical levels by rules defined at a local (i.e., between tones within sequences) and global (i.e., between sequences) level. We have recently shown that OFC lesions affect detecting prediction violations at two hierarchical levels of rule abstraction, i.e., altered MMN and P3a to local and simultaneous local + global prediction violations (https://doi.org/10.7554/eLife.86386). Now, we focus on the task's predictive aspect and present the latest results showing the involvement of PFC subregions in anticipation of deviances informed by implicit predictive information. Behavioral data shows that deviance expectancy induced faster deviance detection in healthy adults (n=22), suggesting that participants track a state space representation of the task and anticipate upcoming deviant sequences. The analysis of EEG data from patients with focal lesions to the OFC (n = 12) or LPFC (n = 10), and SEEG from the same areas in patients with epilepsy (n = 7), revealed interesting differences. Healthy adults (n = 15) showed modulations of the Contingent Negative Variation (CNV) – a marker of anticipatory activity - tracking the expectancy of deviant tone sequences. However, patients with OFC lesions lacked CNV sensitivity to the predictive context, while patients with LPFC lesions showed moderate sensitivity compared to healthy adults. These results were further supported by intracranial recordings, which revealed expectancy modulation of the high-frequency broadband signal from electrodes in OFC and LPFC, with an earlier latency of activity modulation for the OFC and a later one for the LPFC. Altogether, the complementary approach from behavioral, intracerebral EEG, scalp EEG, and causal lesion data provides compelling evidence for the distinct engagement of the two prefrontal areas in predicting future events and signaling deviations.

• Kjell Andreas Oddekalv (2024). Panelsamtale: Fra mainstream til opprør til mainstream igjen – Hiphop 40 år i Norge. Fulltekst i vitenarkiv
• Kjell Andreas Oddekalv, Terje Bjørkheim, Anders Ruud Sørli, Magnus Ugstad, Erik Hole & Bendik Walderhaug (2024). Sinsenfist julekonsert 2024. Fulltekst i vitenarkiv
• Emil Bernhardt (2024). The Beauty and/of the Beat: Expressive Regularity in Schubert. Fulltekst i vitenarkiv
• 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
• Olivier Lartillot (2024). Successes and challenges of computational approaches for audio and music analysis and for predicting music-evoked emotion. Fulltekst i vitenarkiv Vis sammendrag

  Background Decades of research in computational sound and music analysis has led to a large range of analysis tools offering rich and diverse description of music, although a large part of the subtlety of music remains out of reach. These descriptors are used to establish computational models predicting perceived or induced emotion directly from music. Although the models can predict a significant amount of variability of emotions experimentally measured (Panda et al., 2023), further progress seems hard to achieve, probably due to the subtlety of music and of the mechanisms underlying the evocation of emotion from music. Aims An extensive but synthetic panorama of computational research in sound and music analysis as well as emotion prediction from music is presented. Core challenges are highlighted and prospective ways forward are suggested. Main contribution For each separate music dimension (dynamics, timbre, rhythm, tonality and mode, motifs, phrasing, structure and form), a synthetic panorama of the state of the art is evoked, highlighting strengths and challenges as well as indicating how particular sound and music features have been found to correlate with rated emotions. The various strategies for modelling emotional reactions to audio and musical features are presented and discussed. One common general analytical approach carries out a broad and approximate analysis of the audio recording based on simple mathematical models, describing individual audio or musical characteristics numerically. It is suggested that such loose approach might tend to drift away from commonly understood musical processes and to generate artefacts. This vindicates a more traditional musicological approach based on a focus on the score or approximations of it – through automated transcription if necessary – and a reconstruction of the types of traditional representations commonly studied in musicology. I also argue for the need to closely reflect the way humans listen to and understand music, inspired by a cognitive perspective. Guided by these insights, I sketch the idea of a complex system made of interdependent modules, founded on sequential pattern inference and activation scores not based on statistical sampling. I also suggest perspectives for the improvement of computational prediction of emotions evoked by music. Discussion and conclusion Further improvements of computational music analysis methods, as well as emotion prediction, seem to call for a change of modelling paradigm. References R. Panda, R. Malheiro, R. Paiva, "Audio Features for Music Emotion Recognition: A Survey", IEEE Transactions on Affective Computing, 14-1, 68-88, 2023.

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

  På konsert føler vi samhold med fremmede, viser forskning. I et kort øyeblikk samler musikken oss. Hvordan kan musikk også samle oss i urolige tider? Hva er det med akkurat musikk som forener oss? Bli med på musikksnakk med artistene Daniel Kvammen og vokalist i FIEH, Sofie Tollefsbøl, og musikkforsker Anne Danielsen. Her vil musikkprofessor Alexander Refsum Jensenius lede samtalen med ulike spørsmål knyttet til tematikken – kanskje svarer de på ditt spørsmål også? Samtalen er beregnet for et publikum uten faglig bakgrunn i temaet.

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

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

• Olivier Lartillot (2024). Introduction to the MiningSuite toolbox. Fulltekst i vitenarkiv
• Alejandro Omar Blenkmann (2024). Current challenges in human EEG/iEEG/SUA. Fulltekst i vitenarkiv
• Olivier Lartillot (2024). KI-verktøy for håndtering, transkribering og analyse av musikkarkiver. Fulltekst i vitenarkiv Vis sammendrag

  Jeg presenterer en rekke verktøy utviklet i samarbeid med Nasjonalbiblioteket. AudioSegmentor deler automatisk båndopptak i individuelle musikkstykker. Dette verktøyet forenklet digitaliseringen av Norsk folkemusikksamling. Vi bruker avanserte dyp læringsmetoder for å skape et banebrytende automatisk musikktranskriberingssystem, MusScribe, først finjustert for Hardingfele, og nå gjort tilgjengelig for musikkarkivprofesjonelle for et bredt spekter av musikk. Jeg diskuterer også våre pågående fremskritt innen den automatiserte musikologiske analysen av folkemusikkstykker og omfattende samlinger.

• Alejandro Omar Blenkmann, Sabine Liliana Leske, Anaïs Llorens, Jack J. Lin, Edward Chang & Peter Brunner [Vis alle 12 forfattere av denne artikkelen] (2024). Novel tools for the anatomical registration of intracranial electrodes. 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
• Jim Tørresen (2024). Kunstig intelligens og forskningsetiske vurderinger. 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.

• Michelle Ziegler, Marina Sudo, Miriam Akkermann & Olivier Lartillot (2024). Towards Collaborative Analysis: Kaija Saariaho’s IO. Fulltekst i vitenarkiv
• Katharina Vestre, Joachim Mossige, Ole Martin Løvvik & Torkild Jemterud (2024). Abels tårn 12.1.2024. [Radio]. Abels tårn NRK P2. Fulltekst i vitenarkiv
• Balint Laczko, Alexander Refsum Jensenius & Marie Elisabeth Rognes (2026). Instrumental Image Sonification: Towards an Accessible and Reliable Method for Life Science and Sonic Design. Universitetet i Oslo. Fulltekst i vitenarkiv Vis sammendrag

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

• Sigmund Kleivene Slåttum, Mats Erling Høvin, Benedikte Wallace & Diana Saplacan Lindblom (2026). Supervisor for Master thesis: "Moving with the Music: A Novel Robotic Floor for Motion-Enhanced Music Experience" (60 ECTS). University of Oslo (UiO). Fulltekst i vitenarkiv Vis sammendrag

  This thesis investigates how synchronized whole-body movement shapes the experience of listening to music. The two research questions ask whether floor movement changes the listening experience, and whether the specific character of the movement matters for that experience. To address these questions, a one-degree-of-freedom robotic floor was designed and built from scratch. The system, named Harmonic Audio-Reactive Platform (HARP), lifts a person standing on it in a vertical rolling motion derived from features extracted from the music. Two motion patterns were implemented for use in the study: a simple pattern oscillating at the beat frequency, and a complex pattern that combines two sinusoids whose amplitudes vary with the spectral content of the music. The hardware, software, and trajectory generation are described in detail in the thesis, and form a methodological contribution alongside the empirical findings. Six participants took part in a within-group user study. Each experienced three songs from contrasting genres (classical, EDM, and metal) under three motion conditions (no motion, simple, and complex), giving nine conditions per participant. A qualitatively-driven mixed methods design was used. Semi-structured interviews were analyzed with reflexive thematic analysis, alongside Likert ratings, amplitude adjustment logs, synchronization measurements, and video observations. Three themes were constructed from the interviews: Enjoyment, Emotion, and Congruence. Across all data sources, the most consistent finding is that motion pattern preference is personal. No single pattern worked for everyone, and the same pattern could feel mismatched or stressful to one participant and meaningful to another. The movement was mostly received as adding to the listening experience, with Likert ratings, qualitative themes, and participants’ own descriptions of real-world use pointing the same way. Synchronization between music and motion shaped the experience but its specific role could not be settled within this study.

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

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

• Olivier Lartillot & Marina Sudo (2025). AcousMuScope: Users' Guide. Universitetet i Oslo. doi: https:/www.uio.no/ritmo/english/projects/mirage/software/AcousMuScope/index.html. Fulltekst i vitenarkiv Vis sammendrag

  AcousMuScope is a new software for music analysis of audio recordings, focusing on the graphical interface to browse into the analyses.

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

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

• Diana Saplacan Lindblom, Jim Tørresen & Nina Hakimi (2024). Dynamic Dimensions of Safety - How robot height and velocity affect human-robot interaction: An explorative study on the concept of perceived safety. University of Oslo. Fulltekst i vitenarkiv
• Finn Upham (2024). Peer Review Report For: Is Taylor Swift leading a new Pop revolution? A cross-generation analysis of Pop/Rock cover songs [version 3; peer review: 1 approved with reservations, 3 not approved]. Taylor & Francis Group. Fulltekst i vitenarkiv Vis sammendrag

  Open review of an study on patterns in cover songs reported in the website SecondHandSongs. Review covers he contemporary cultural context of cover songs and the structure of this database, its linguistic, geographic, legal, and technical biases in this database, besides making specific recommendations for the paper.

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