Tormod Wallem Anundsen

• Illeris, Helene & Anundsen, Tormod Wallem (2024). Merging Walking Experiences 1 & 2. In Lee, Nicole Y.S; Irwin, Rita L.; Baldus, Angela; Barney, Daniel T; Ursino, Joanne M. & Eskandary, Zohreh Valiary (Ed.), Pedagogical Propositions: Playful Walking with A/r/tography. Book One: Encounters. InSEA Publications. ISSN 9789895360093. Full text in Research Archive
• Anundsen, Tormod Wallem & Illeris, Helene (2024). Inhabiting Landscape: Walking as an Act of Practicing and Being Practiced. In Lee, Nicole Y. S.; Mosavarzadeh, Marzieh; Ursino, Joanne M. & Irwin, Rita L. (Ed.), Material and Digital A/r/tographic Explorations: Walking Matters. Springer. ISSN 9789819953738. p. 27–41. doi: 10.1007/978-981-99-5374-5_3. Full text in Research Archive
• Illeris, Helene & Anundsen, Tormod Wallem (2024). Antropocæn resonans: Sanselige undersøgelser som indgang til kunstbaseret praksis i/med det antropocæne. In Paulsen, Michael & Tække, Jesper (Ed.), Antropocæn: Menneske, samfund og dannelse i en ny tidsalder. Forlaget Unge Pædagoger. ISSN 9788792914842. p. 235–257. Full text in Research Archive
• Anundsen, Tormod Wallem (2024). Collapsing landscapes: Walking as acts of belonging and becoming. In Nicole, Rallis; Motimoto, Ken; Sorensen, Michele; Triggs, Valeria; Irwin, Rita L. & Robinson, Jocelyne (Ed.), Walking in art education : ecopedagogical and a/r/tographical encounters. Intellect Ltd.. ISSN 9781789389197. p. 220–230. Full text in Research Archive
• Illeris, Helene; Fossnes, Anne-May & Anundsen, Tormod Wallem (2024). Landtimescaping with Rossedalen: A/r/tographic fieldwork with a landscape in Southern Norway. Nordic Journal of Art & Research (A & R). 13(3), p. 1–27. doi: 10.7577/ar.6070. Full text in Research Archive Show summary

  This article develops and explores ‘landtimescaping’ as an a/r/tographic practice that can help us as humans to expand and (re-)create our relationships to the Land. Through a/r/tographic fieldwork in Rossedalen, a valley situated in Southern Norway close to the city of Arendal, the authors experiment over time with different ways of being-with the Land. The aim is to contribute to art, research and education as worlding practices that facilitate diverse ways of sensing, relating and acting with other-than-human forms of being. By relating to Karen Barad’s theories of spacetimemattering, the verb ‘landtimescaping’ is coined to generate new knowledge through specific embodied practices, such as walks with locals and repeated visits to a certain spot. More specifically, three ‘landtimescapings’ are brought to life by intertwining different textual-visual approaches: Landtimescaping #1 –The neglected forest. Circles and cycles, Landtimescaping #2 – Deforestation. Life interrupted. Life to (be)come, and Landtimescaping #3 – The Quarry. Swallowing an event. In the final part of the article, the potentialities of landtimescaping for the practices of art, research, and education are discussed in order to open for a (re-)orientation of these separate forms of knowing towards entangled, fluid and open ways of existing.

• Knudsen, Marianne Nødtvedt & Anundsen, Tormod Wallem (2024). Mellom hengivelse og kritisk distanse: Erfaringer fra performative kunstfaglige utdanningsrom. In Østern, Tone Pernille; Illeris, Helene; Knudsen, Kristian Nødtvedt; Jusslin, Sofia & Holdhus, Kari Mette (Ed.), Kunstfagdidaktikk som kunstnerisk, forskende og oppmerksom undervisningspraksis. Universitetsforlaget. ISSN 9788215065953. Full text in Research Archive Show summary

  Kunstfagdidaktikk er en kunstnerisk, forskende og oppmerksom undervisningspraksis der lærer/forskerposisjonen er skapende, medlærende og medforskende. Det er hovedargumentet i denne vitenskapelige antologien, der kunstfagdidaktikk forstås som en aktiv aktør i samfunnet og samtiden. Kunstfagenes tradisjoner og didaktikker blir dermed åpne for reforhandling. Målgruppen for boka er forskende lærerutdannere, lærere, kunstnere og studenter som er nysgjerrige på hvordan undervisning og forskning i og med kunstfag kan være en skapende, utforskende og performativ praksis i mulighetssøkende, kritisk og inkluderende endring. Redaktørene er Tone Pernille Østern, Helene Illeris, Kristian Nødtvedt Knudsen, Sofia Jusslin og Kari Holdhus. De har bakgrunn i kunstformene dans, visuell kunst, drama/teater, språk og litteratur og musikk, og er alle tverrkunstfaglig orientert. Både redaktører og forfattere, som er kunstnere, lærere, lærerutdannere og/eller barnehagelærerutdannere, har over tid vært med på å skape, forme, praktisere og artikulere kunstfagdidaktikk i norsk og nordisk kontekst. Med Kunstfagdidaktikk som kunstnerisk, forskende og oppmerksom undervisningspraksis argumenterer redaktører og forfattere for kunstfagdidaktikk som en praksis som blir til gjennom å aktivere kunstens formskapende tilbud og, som på sitt beste, tilbyr kunstneriske opplevelser.

• Anundsen, Tormod Wallem & Illeris, Helene (2019). Inhabiting practice: performative approaches to education and research as art. In Østern, Maria Anna-Lena Viola & Knudsen, Kristian Nødtvedt (Ed.), Performative Approaches in Arts Education: Artful Teaching, Learning and Research. Routledge. ISSN 9781138334878. p. 119–135. doi: 10.4324/9780429444159-9. Full text in Research Archive Show summary

  What happens if we, as educators and researchers, try to inhabit our educational practice as a social arts practice? This question was the starting point for an inquiry that sought to use performative approaches to encounter, negotiate and potentially change the conditions of arts education from within its institutional framework. Inspired by contemporary art projects, where everyday collective practices – such as building or cooking – are performed as art, the authors turned to explore how this could also apply to their own educational practice. This spurred a practice-led research process in collaboration between students and educators at a master’s programme in fine arts at the University of Agder in Norway. In the chapter, the authors’ personal memories and reflections from the inquiry intertwine with analytical concepts from contemporary art theory in five sections: The sensuous: exploring space, The relational: exploring togetherness, The metafictional: exploring performance, The antagonistic: exploring conflict, The durational: exploring negotiation. The chapter concludes by listing pedagogical potentialities that may unfold when practicing education as art.

• Anundsen, Tormod Wallem (2015). Reconstructing Africa in performance: The “cultural encounter” revisited. In Engebretsen, Martin (Eds.), Det tredje språket: Multimodale studier av interkulturell kommunikasjon i kunst, skole og samfunnsliv. Portal forlag. ISSN 9788283140361. p. 230–246. Full text in Research Archive
• Anundsen, Tormod Wallem (2015). Taking it back: The musical reconnections of Stella Mwangi. In Markussen, Bjarne (Eds.), Lydspor : når musikk møter tekst og bilder. Portal forlag. ISSN 9788283140323. p. 361–379. Full text in Research Archive

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• Anundsen, Tormod Wallem; Kiel, Hildegard & Haonga, Excel Michael (2011). Ukuti Ukuti - Kitabu Cha Nyimbo za Watoto - A Swahili Children's Song Book. Mkuku na Nyota Publishers Ltd.. ISBN 9789987080793. 100 p. Full text in Research Archive

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• Beckmann, Hege Bjørnestøl & Anundsen, Tormod Wallem (2026). Reimagining Higher Music Education as Social Action: Developing “Music in Action in Contemporary Society (MUSACT)” as an International Joint Master’s Programme. Full text in Research Archive Show summary

  This concept paper analyses the ongoing development of the international joint master’s programme ‘Music in Action in Contemporary Society’ (MUSACT) as a site where questions are being negotiated. Rather than presenting an established educational model, the paper examines the curriculum design process through which social responsibility, artistic practice, and professional identity are being configured. Particular attention is given to how these dimensions are shaped through international collaboration and structural decisions in the emerging programme architecture, with the following research questions: • RQ1: Which conceptual foundations can inform a socially engaged music programme? • RQ2: How does programme development become a process of curriculum negotiation and research? • RQ3: What implications does this work have for developing musical professionalism? The paper presentation will later be developed into a research article

• Illeris, Helene; Anundsen, Tormod Wallem & Fossnes, Anne-May (2025). Experimenting with land acknowledgement trough (a/r/tographic) landtimescaping. Full text in Research Archive Show summary

  We propose an outdoor, participatory workshop that will investigate land acknowledgement trough the concept of landtimescaping. This proposal aims to contribute to the symposium with the following: 1. Bring to action the concept of landtimescaping for ourselves and the participants. Where can this concept take us/what can it contain? (see also Illeris, Fossnes & Anundsen, 2024) 2. How does landtimescaping communicate with kin and relationality, but also loss, shift and rupture as important a/r/tographic approaches? (Rallis & Morimoto, 2024; Springgay, Irwin & Kind, 2005). This contribution will follow up the term landtimescaping that is being developed over the course of the Learning with the Land project with Rossedalen. In the article Landtimescaping with Rossedalen - A/r/tographic fieldwork with a landscape in Southern Norway (Illeris, Fossnes & Anundsen, 2024) we suggest using Landtimescaping as a way of describing how our a/r/tographic being-with the Land is relying on (at least) three phenomena: time, land and scape (condition). The term is heavily influenced by the noun landtimescape as proposed by philosopher of science Karen Barad: […] Time-beings do not merely inhabit, but rather are of the landtimescape – the spacetimemattering of the world in its sedimenting enfoldings of iterative intra-activity (2017, p. 83-84). Another source of inspiration comes from a poetry written by South Sámi artist Carola Grahn (Danbolt & Pushaw, 2023) Outline of the workshop: - A site for the workshop will be found by Helene, Tormod and Anne-May through using time in advance on or near the campus grounds - Investigating the participants’ relations with the Land and the time(s) created by these relations trough movement, languages/words, rhythms, resonances etc. - Reflecting on how the term ‘land acknowledgement’ can be practiced by newcomers and people of various knowledge/experience in these grounds References Barad, K. (2017). Troubling time/s and ecologies of nothingness: Re-turning, re-membering, and facing the incalculable. New Formations, 92(92), 56–86. https://doi.org/10.3898/NEWF:92.05.2017 Danbolt, M. & Pushaw, B. (2023) Institutional Acknowledgements: Introduction to the Special Issue ‘The Art of Nordic Colonialism’, Konsthistorisk tidskrift/Journal of Art History 92(2), 67-83, https://doi.org/10.1080/00233609.2023.2213677 Illeris, H. Fossnes, A. and Anundsen, T.W. (2024, in press) Landtimescaping with Rossedalen - A/r/tographic fieldwork with a landscape in Southern Norway. Nordic Journal of art & research 13 (3), 1-28 https://doi.org/10.7577/ar.6070 Rallis, N. & Morimoto, K. (2024). Introduction: Encountering kin and relationality. In N. Rallis, K. Morimoto, M. Sorensen, V. Triggs, R.L. Irwin (Eds.). Walking in art education: Ecopedagogical and a/r/tographical encounters. Intellect. Springgay, S., Irwin, R. & Kind, S. W. (2005). A/r/tography as Living Inquiry trough Art and Text. Qualitative Inquiry 11(6) https://doi.org/10.1177/1077800405280696

• Illeris, Helene; Anundsen, Tormod Wallem & Fossnes, Anne-May (2025). Land acknowledgement with Rossedalen Landtimescaping as multimodal a/r/tographic practice. Full text in Research Archive Show summary

  We propose this chapter as a multimodal essay based on our ongoing work with the valley of Rossedalen in Southern Norway, which is part of the international partnership Learning with the land (Lwl). The aim of the chapter is to explore (im- )possibilities of land acknowledgement in/with Rossedalen through a/r/tographic practices of “landtimescaping”. Inspired by our readings of the American feminist theorist and physicist Karen Barad (2017), we consider landtimescaping as “a way of speaking about how our a/r/tographic being-with the Land as a constantly moving phenomenon transformed both the landscape and our memory as continuous refigurations of spacetimemattering” (Illeris, Fossnes & Anundsen, in press). As Scandinavians, the problematics related to the current decolonizing practices of land-acknowledgement are not as familiar to us as they are to people who belong to a Land that has been colonized by foreign human settlers. 1 Still, we would like to explore what the meanings and practices of land-acknowledgment could be in a context that does not include human-over-human settlement. Furthermore, we would like to develop land-acknowledgment-practices in/with a landscape to include all the species existing in Rossedalen; humans as well as more-than-humans. Inspired by indigenous contemporary artists like Carola Grahn and by environmental anthropologists like Anna Tsing (2015) we want to find ways to acknowledge that Rossedalen, although it has been exploited by human agriculture, forestry and mining for generations, is also incredibly rich in forms of “multispecies world-making” (Tsing, 2015, p. 22). In line with a/r/tography we would like our contribution to be part of our ongoing explorative processes rather than a documentation or representation of them. Adopting a/r/tography as a practice of meaning making (Springgay et al., 2005, p. 905), we see a/r/tographic fieldwork (Rousell et al., 2018) as an ongoing movement of walking, sitting, lying on the ground, crawling, touching, listening, writing and making sounds and images. As far as we have come at the moment, possible research questions are: How can we acknowledge - what is and exists (now)? - what has been, existed and is still in movement (time)? - what (be)comes though/with us as we move in time with the Land (relationship)? In our multimodal essay we wish to propose 2 or 3 time-related a/r/tographic practices aiming to learn-with the Land as a coteacher, using arts-research-learning-communicating as ways to (re-)create ourselves and our partners in continuous entanglements with the other human and more-than-human forms in/of Rossedalen. Developing these land acknowledging practices, we will experiment with: - Matter, material explorations, intra-actions with the material processes of the Land as a way to physically (and visually) give voice to time. - Sound, as a way to give voice to the fragile and/or capture time-aspect of vibrations and resonance. 1 We are of course aware of the colonization and nationalization of the indigenous peoples in Sapmi, the northern parts of Norway, Sweden and Finland, which means that Scandinavian and Nordic countries do have a colonial history within its national borders. However, focusing on Land as a specific place, it would not make sense to us to transport these colonial relations to areas where there is no such history. This question of course could be addressed and discussed. - Video, perhaps in the creation of immersive environments/expanded cinema. The chapter mainly seeks to respond to the theme “A/r/tographic storytelling and Geo-specific Understandings of Place: Sharing stories and insights”, but it also connects to the theme “Decolonizing Education: Challenging Western-Euro-centric understandings of land and integrating Indigenous Knowledge and methodologies into educational practices.” References: Barad, K. (2017). Troubling time/s and ecologies of nothingness: Re-turning, re-membering, and facing the incalculable. New Formations, 92(92), 56–86. https://doi.org/10.3898/NEWF:92.05.2017 Illeris, H., Fossnes, A.-M., & Anundsen, T. W. (in press). Landtimescaping with Rossedalen. A/r/tographic fieldwork with a landscape in Southern Norway. Nordic Jounal of Art and Research. Special issue: “Living as an a/r/tographer – a Nordic perspective” Rousell, D., Cutcher, A. L., Cook, P. J. & Irwin, R. (2018). Propositions for an environmental arts pedagogy: A/r/tographic experimentations with movement and materiality. In A. Cutter-Mackenzie et al. (Eds.), Research Handbook on Childhoodnature (pp. 1–29). Springer. Springgay, S., Irwin, R. L. & Kind, S. W. (2005). A/r/tography as living inquiry through art and text. Qualitative Inquiry, 11(6), 897–912. Tsing, A. L. (2015). The mushroom at the end of the world. On the possibility of life in capitalist ruins. Princeton University Press.

• Illeris, Helene; Anundsen, Tormod Wallem & Fossnes, Anne-May (2024). Learning with the Land. Experimenting with a/r/tographic fieldwork in/with a landscape in Southern Norway. Full text in Research Archive Show summary

  This paper presents and discusses the on-going efforts by the authors to come closer to an inland landscape in the municipality of Arendal in Southern Norway. In order to explore human entanglements with other-than-human forms of existence, we have adopted a/r/tographic fieldwork as our methodological frame (Roussel et al., 2018) with a special focus on walking a/r/tography (Anundsen & Illeris, in press) and sensuous sustainability education in the arts. More concretely, since August 2022, the authors – two university professors in arts education (Helene and Tormod) and a local artist specialized in participatory art forms (Anne-May) – have been undertaking monthly ‘expeditions’ in/with the Land. Using Anne-May’s home as our physical base and her experience and knowledge of the area and its inhabitants, a multiplicity of ‘entrance points’ have been generated. In this way we have been able to explore not only our own sensuous experiences with walking, sitting, lying, listening to the land, but also to engage with human inhabitants by walking together and sharing our experiences. Theoretically the project is informed by environmental anthropology, new materialist and post-humanist approaches. Artistically we are inspired by ecological approaches to art and performance. Our fieldwork serves as source for the development of workshops for master's students in the arts and for developing participatory art projects. The project is a part of the international partnership Learning with the Land led by professor Rita Irwin with funding from the Social Sciences and Humanities Research Council of Canada. In the paper we will use examples from our a/r/tographic fieldwork to discuss the following research question: How can a/r/tograhic fieldwork generate artistic and pedagogical ‘entrance points’ for human - other-than-human entanglements in/with Land? Sources Anundsen, T. W. & Illeris, H. (in press). Inhabiting landscape: Walking as an act of practicing and being practiced. in N. Lee, J. Ursino, M. Mosavarzadeh and R. L. Irwin (Eds.), Walking matters: Material and digital a/r/tographic explorations. Springer Nature. Rousell, D., Cutcher, A. L., Cook, P. J. & Irwin, R. (2018). Propositions for an environmental arts pedagogy: A/r/tographic experimentations with movement and materiality. I A. Cutter-Mackenzie et al. (Eds.), Research Handbook on Childhoodnature (s. 1-29). Springer.

• Beckmann, Hege Bjørnestøl & Anundsen, Tormod Wallem (2023). How can higher music education institutions offer responsible music education? Full text in Research Archive
• Illeris, Helene; Anundsen, Tormod Wallem; Valberg, Tony; Ingul, Siri Linde; Hovde, Sunniva Skjøstad & Friis, Joachim [Show all 10 contributors for this article] (2023). Onto-sympati i tilfeldig møte med andre værensformer – the walk/the talk. Full text in Research Archive Show summary

  The WALK er en vandreperformance/workshop som tager udgangspunkt i den nymaterialistiske forsker Jane Bennetts begreb ”onto-sympati”. Onto-sympati er den erfaring som kan opstå når forskellige arter (f.eks. mennesker og planter) forsøger at nærme sig hinanden med fokus på indbyrdes ligheder i stedet for på forskellighed [evt. link til workshop med Michael] Forskningsgruppen Kunst og sosiale relasjoner gennemførte the WALK på samlingen Performing Landscapes non-stop, arrangeret af Metropolis – Performance og kunst i byens rum på Refshaleøen i København 30. september 2023 (https://www.metropolis.dk/performing-landscapes-non-stop/ ). The WALK varede ca. 1 time og, udover medlemmer af forskningsgruppen, havde workshoppen ca. 20 deltagere. The WALK bestod af fire dele: Del 1 var en langsom vandring i gruppe, hvor deltagerne eksperimenterede med forskellige sanser undervejs. Først var fokus på lytning både til lydene omkring os til lydene inde i os selv. Herefter arbejdede vi med bevægelse, bl.a. gik vi baglæns henover et stort åbent og forblæst område. Del 2 handlede om at udforske onto-sympati individuelt gennem at skabe kontakt med et sted. I en konvolut fandt deltagerne små instrukser. Her gik deltagerne et tilfældigt antal skridt ud fra terningslag og fandt herigennem et sted, hvor de opholdt sig i 15 minutter. Instruksen lød: “Close your eyes and open your body to other bodies surrounding it (elements, surfaces, sounds, smells etc.) . Meet impulses, intensities, temperatures etc. that your body is sympathizing with”. I del 3 “Passing through” bevægede Gruppen sig igennem et område med fokus på det at finde mellemrum mellem andre mennesker og ting. Endelig bestod del 4 af en samling omkring et lille bål, hvor en tekst om stedets forskellige tider (geologisk istid, bygning af kunstig ø, skipsværft, rekreativt område) blev læst op sammen med ’land acknowledgement’ og hvor alle deltagere blev opfordret til at skabe en hilsen til stedet og varme sig ved ilden.

• Anundsen, Tormod Wallem; Waage, Ingimar Ólafsson & Anttila, Eeva (2023). Dialogue, difference, and imagination. Full text in Research Archive Show summary

  In the first part of this conversation we offer some theoretical starting points for seeking to develop a ‘Pedagogy of imaginative dialogue’. The paper presents and explores three concepts that emerged as important points of inspiration behind the project; dialogue, difference, and imagination. After an introduction, participants will be invited to work with the 3 concepts and use them to model their own forms of imaginative dialogue. Presentation by Ingimar Olafsson Waage and Tormod Wallem Anundsen based on a paper written in collaboration with Eeva Anttila

• Anundsen, Tormod Wallem; Beckmann, Hege Bjørnestøl; Wetlesen, Isabelle Restrepo & Rusdal, Kristina R Larsen (2023). Educating musicians as socially engaged artists (Or: What might 'responsible music education' look like?). Full text in Research Archive
• Anundsen, Tormod Wallem (2023). "Don’t make a project!" Searching for 'non-representative' approaches to ethnographic research, artistic practices and arts education. Full text in Research Archive Show summary

  The paper presents and discusses experiences from an educational project that aimed to "find ways of engaging with local communities, agents and situations in a non-representative way, which means not just representing local cultures, but to explore the practices of arts, research and education as ways of engaging 'with' rather than making a study ‘of’” (Erasmus+ application text, 2019: Encounters through art, ethnography and pedagogy).

• Illeris, Helene & Anundsen, Tormod Wallem (2022). Workshop: TIME/LAND Exploring relationships to nature through walking together-apart. Full text in Research Archive Show summary

  TIME/LAND - Exploring relationships to nature through walking together-apart (Workshop) 1: Contextualization: This workshop is an integrated part of the artistic research project TIME/LAND. Through experimental approaches to collective acts of walking, listening and sharing, the project aims to explore experiences of time as an embodied and embedded phenomenon of continuous re-turning and re-membering (Barad, 2017). Using propositions (Whitehead, 1978; Springgay & Truman, 2019) and research creation (Manning & Massumi, 2014) as methodological approaches, the project aims at exploring new sensibilities able to challenge linear structures of temporality. 2: Workshop description and objectives: Workshop participants are invited to take part in and reflect on sensuous perceptions with nature through walking and asynchronous dialogues of sound. The participants will be provided with an existing sound experience to accompany their walk (listening on their own phones, so please bring a headset). In response, participants will produce another sound file during and/or after their walk. Guidelines and maps will be provided. The produced sound files will be made available for the participants shortly after, so that the workshop will be carried out both at a given starting time Wednesday night, and can be continued asynchronously during the symposium. Schedule: Participants will be invited to join an evening/night event in the woods. The meeting point will be in Odderøya, close to the house Kommandantboligen where the reception takes place. The participants will be guided to the meeting point from Kommandantboligen. The individual walks will begin and end at the meeting point. After the walk, participants will be invited to share their experiences and upload their sound files to a common digital platform. Later, participants may join asynchronously during the symposium. 3: Planned outcomes: The growing, dialogical archive of sound files is the empirical and artistic body of the TIME/LAND project, which will be made available to the participants during and after the workshop, thus creating a shared rhizomatic expanding network of walks, sounds and dialogues.

• Gatou, Ismini; Illeris, Helene & Anundsen, Tormod Wallem (2022). Walk on borders in Λόφος Στρέφη (Strefi Hill). Arts Cabinet. 2. Full text in Research Archive
• Anundsen, Tormod Wallem (2021). Shared walking with (online) propositions. Arts Cabinet. 1. Full text in Research Archive
• Anundsen, Tormod Wallem (2021). Recognizing difference: Immigrant performers negotiating Norwegian multicultural expectations. In Ronström, Owe & Lundberg, Dan (Ed.), Sounds of migration: Music and migration in the Nordic countries. The Royal Gustavus Adolphus Academy for Swedish Folk Culture. ISSN 9789187403392. p. 113–138. Full text in Research Archive
• Anundsen, Tormod Wallem (2020). Can 'inhabiting' challenge the neoliberal in education? Experiences from inhabiting education as a social arts practice, Drawing on Freire, Biesta and Rogoff. Full text in Research Archive
• Fossnes, Anne May; Illeris, Helene; Anundsen, Tormod Wallem; Hansen, Linda Iren Mihaila; Svingen-Austestad, Anna & Dalgård, Lene [Show all 7 contributors for this article] (2019). BEBO fase 2. Full text in Research Archive
• Anundsen, Tormod Wallem (2019). Etnografi som kunstnerisk forskning. Full text in Research Archive
• Anundsen, Tormod Wallem (2019). «Risking ourselves in arts education»: Experiences from inhabiting eduation as a social arts practie. Drawing on Freire, Biesta and Rogoff. Full text in Research Archive
• Anundsen, Tormod Wallem (2019). Risking ourselves in arts education: Experiences from inhabiting education as a social arts practice. Full text in Research Archive
• Anundsen, Tormod Wallem (2019). Mainstream or Marginal? On musical recontextualizing strategies. Full text in Research Archive
• Illeris, Helene & Anundsen, Tormod Wallem (2018). Art as Education/Education as Art. Inhabiting practice. Full text in Research Archive
• Illeris, Helene; Anundsen, Tormod Wallem; Valberg, Tony; Svingen-Austestad, Anna; Skregelid, Lisbet & Amundsen, Even Lynne [Show all 12 contributors for this article] (2018). BEBO. Full text in Research Archive Show summary

  BEBO er en fanzine, produceret i forbindelse med forskningsgruppen Kunst og sosiale relasjoners beboelse på Feviktun bo- og omsorgscenter i juni 2017

• Anundsen, Tormod Wallem & Illeris, Helene (2018). RISIKO ELLER TRYGGHET - modeller fra forskningsbasert utdanning i kunstfag. Full text in Research Archive
• Illeris, Helene & Anundsen, Tormod Wallem (2017). ART AS EDUCATION/EDUCATION AS ART How (not) to do research on, with, and through your own teaching practice. Full text in Research Archive
• Illeris, Helene & Anundsen, Tormod Wallem (2017). ART AS EDUCATION/EDUCATION AS ART ‘Urgency’ as engine for educational practices between art, education and research. Full text in Research Archive
• Illeris, Helene & Anundsen, Tormod Wallem (2017). ART AS EDUCATION/EDUCATION AS ART Gratifications and discomforts when turning a study program into critical inquiry. Full text in Research Archive
• Anundsen, Tormod Wallem (2016). Sensory ethnography: Between research and artistic practice. Full text in Research Archive
• Anundsen, Tormod Wallem & Gubner, Jennie (2016). Teaching sensory ethnography – between research and creative practice. Full text in Research Archive
• Illeris, Helene & Anundsen, Tormod Wallem (2014). Arts-based education and education-based arts: Examples from a trans-disciplinary master’s degree. Full text in Research Archive
• Anundsen, Tormod Wallem (2014). Beyond Postcolonialism? The 'other' in critical performance analysis. Full text in Research Archive
• Anundsen, Tormod Wallem (2014). Taking it back: The musical reconnections of Stella Mwangi. Full text in Research Archive
• Anundsen, Tormod Wallem (2014). Perspektiver fra avhandlinga "Mainstream or marginal?". Full text in Research Archive Show summary

  Formidling av egen doktoravhandling til fagfolk tilknyttet Rikskonsertenes internasjonale og flerkulturelle virksomhet

• Anundsen, Tormod Wallem & Kiel, Hildegard (2005). Teaching music to children - a series of workshops for teachers in Tanzania. Full text in Research Archive Show summary

  Paper accepted for and presented at the conference "Pan African Society of Musical Arts Education", Maputo 2005. The presentation gives an overview of a pilot training programme at the Dhow Countries Music Academy, Zanzibar, for Educators in ?Music Education for Children? which was conducted in conjunction with the Agder University College in Kristiansand, Norway. The course modules will be explained and demonstrated with video examples of the work. Strengths and weaknesses will be emphasized and conference participants are then invited for feedback and discussion on how such programs can be developed and run in an African context. Paper godkjent for og lagt frem på konferansen "Pan African Society of Musical Arts Education", Maputo 2005. Presentasjonen introduserer et prosjektarbeid i samarbeid mellom HiA, Kristiansand og DCMA, Zanzibar, der målet har vært å utvikle musikkundervisningsmetoder for barn, med utgangspunkt i lokale tradisjoner på Zanzibar og i Tanzania. Hovedforfatter er T. Anundsen, fremlegg i Maputo ved H. Kiel.

• Anundsen, Tormod Wallem; Orning, Tanja & Toxværd, Laura (2023). Muliggørelser af mangfoldige musiktilblivelser. Universitetet i Agder. ISSN 9788284271408. Full text in Research Archive Show summary

  The making of manifold musical becomings This doctoral thesis is an article-based and combined artistic and scientific dissertation that includes two internationally released music albums which are live-recordings of concerts, and two double blind peer reviewed scientific papers as well as an artistic essay published in a music journal. The PhD project is anchored in a performative research paradigm and an understanding of music that moves beyond an anthropocentric world view. In her PhD thesis Laura Toxværd deals with finding ways in which manifold musical becomings are made possible through explorations of how both the human and the more-than-human intra-act in relation to concerts, where she plays with improvising musicians such as Marilyn Mazur and Jacob Anderskov. Usually, we speak of interaction when humans act, however, when other elements act in unison with humans without being separable it can be described as intra-action. As a foundation for the thesis is the fact that Toxværd is a woman, a saxophonist, and a composer in the realm of experimental and improvised music with 30 years of experience as a professional musician and 17 internationally released music albums of her own music. Her motivation for initiating her PhD project was that she through a number of years became aware of gender imbalances within the field of music. In the form of artistic articulations and academic writing Toxværd has investigated and analysed the intra-actions and contested what matters by taking responsibility for intervening, so that what is excluded from mattering is considered. The result of the thesis’ examination is that manifold musical becomings are made possible by embracing and unfolding the intertwined and ambivalent in the intra-action of human and nonhuman materialities and bodies. The thesis thereby also contributes to an understanding of the effects of the music world’s lack of gender balance as a force that is continuously present in an artistic practice and that can create changes.

• Anundsen, Tormod Wallem (2014). Mainstream or marginal? A study of the musical practices of three African immigrant performers in Norway. Universitetet i Agder. Full text in Research Archive

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