How to process change. A conversation between research fellow Ellen Røed and Cecilia Gelin
Ellen Røed is a research fellow in fine art at Bergen Academy of Art and Design. Her project is entitled Processing Change. The exhibition Skyvelære (slide gauge) is the artistic result of her research project. In her work, she has explored parallels and contradictions between video art and natural science, based on how we relate to our surroundings through various instruments. Ellen Røed´s exhibition Skyvelære is on view at Galleri 3,14 in Bergen 13 June to 1 August 2013.
Image: Ellen Røed, Skyvelære/Processing Change (2012).
Ellen Røed's practice as a visual artist has developed through specific technological experimentation with images, mixed with an interest in how images function in a performative context, in a 'here and now' situation. She often emphasises what arises in the space, in the moment, when the viewer and the art come together. Therefore, she does not make 'finished' video pieces that can be burned on a DVD or in other locked formats. Her pieces often 'listen' to their surroundings in different ways. The sounds in the space, the movements of the viewer or artist, random factors etc. have been her materials. Such 'listening' to the surroundings is also found in natural science. In her work on her research project, Røed has therefore interviewed scientific researchers as a basis for making art. She has also experimented by using scientific instruments to make images. The result is a number of works that reflect on randomness, gestures, improvisation and other informal aspects of formal knowledge.
Your exhibition at 3,14 is called Skyvelære (slide gauge), where does the title come from?
When you measure, you define set reference points that can then be used to find out something about the world. Between these reference points, we can imagine that change manifests itself as the difference between one such set reference point and another. This principle is the basis for the slide gauge measuring device, which, by means of a set edge and a variable slide, can be used to measure distance and depth. By pushing the slide with the thumb, you can make a measurement with 0.05 millimetre accuracy. I like the play on words, the term 'lære' (learning) used in this way comes from German, and can mean knowledge in a general sense, we are talking about the knowledge that is gained through sliding (å skyve). This is a recurring theme in most of the pieces at the exhibition.
Image: As a fellow Ellen Roed participated in the 11th International Pyrheliometer Comparison Event in Davos. The result is a film that is shown at the exhibition Skyvelære at Gallery 3,14 in Bergen.
What are you showing at gallery 3,14?
The exhibition comprises art that consists of reflections on devices and procedures that are used in video art and in natural sciences. In the development of the pieces, I've focused on the practical handling of devices in their interaction with nature. The objective is to create a reflection on the nature of knowledge, to shed light on different ways of developing understanding by reflecting on parallels and contradictions between nature and images, between instruments and experiences, between the environment and representations of it.
I´m showing four video pieces and a spatial, four-channel sound piece designed as a kinetic sculpture (or a machine) and a photograph. The different pieces are reflections based on how people relate to their (natural) surroundings through different instruments. They reflect informal aspects of the production of understanding and knowledge, such as the body, social relationships and good stories, seen in contrast to formal aspects such as standards and calibration procedures. Hand movements and mechanical devices are seen in relation to each other by focusing on how adjustments and settings are tested and shifted when you set up, focus, correct, adjust, measure light and distance, calculate position and twist and turn the devices in an attempt to achieve the exact alignment you want between the world and the images. The human aspect is present in technology's images, not least through all of the small interruptions that arise in the flow of images as a result of adjustments to the devices.
The key piece in the exhibition will be a film in which the sun is centre screen throughout the film, while birch leaves, mountains, clouds etc. pan past as the earth rotates around the sun. The film is an animation based on still frames, what is called time-lapse, created using a device I've borrowed from the Geophysical Institute at the University of Bergen, which follows the sun irrespective of where it is in the sky. I have fitted a camera to this device and taken photos of the sun as it moves across the sky or, rather, as the earth rotates. From the sun's perspective, the camera doesn't move. The camera thereby observes the world from the device's point of view while it moves in the same orbit as the sun, at different times of day and night. The film consists of 120,000 photos taken in northern Sweden in June 2012 during the midnight sun season. The device requires manual calibration, and the continuous adjustments and hand movements that are made during calibration create interruptions and jolts in the mechanical flow of images. They make it clear that someone is working with their hands in the background behind the seemingly continuous process, and the illusion that is implicit in a timelapse is broken. During another period of fieldwork in Finland in autumn 2011, I recorded the sound that is used in the piece using a device that I borrowed from another department at the University of Bergen, the Department of Physics and Technology. The hand-held device captures the low-frequency magnetic sound waves that arise in connection with the Northern Lights and replays them as a crackling noise.
Image: Ellen Røed, Processing Change, 2012.
Several of the works in the exhibition are based on how science uses reference points in the production of knowledge. They thereby make reference to Duchamp's work Trois Stoppages Etalons (1913-1914), which can also be said to be a reference point in itself in the art world. The exhibition therefore builds on the themes and issues I explored in the projects While attempting to balance (2011) and Om å balansere (2012). Duchamp created his own standard, a standard meter, by dropping a one-metre long thread from a height of one meter. He used the result, which represents the first time randomness was used as a conscious strategy in visual art, as a standard, as a measuring stick, in a number of his other works, including Le Grand Verre (1915-1923).
Inspired by Johannes Kepler's ground-breaking discovery of the ellipse as a basic model for understanding the planets' movement around the sun, in the film Skyvelære/While attempting to balance (2012) I look at practical procedures, rhythmic gesticulation and ritualistic relations as meaningful aspects of scientific practice. The production and use of units and set reference points are presented as a social project in which people relate to the world collectively.
Measurement was one of the most fundamental activities in both the Age of Enlightenment and, in many ways, in Modernism. When you measure, you define set reference points that can then be used to find out something about the world. Between these reference points, we can imagine that change manifests itself as information, as the difference between one such set reference point and another. This principle is thus the basis for the slide gauge measuring device, which, by means of a set edge and a variable slide, can be used to measure distance and depth.
The material for the video was filmed in Davos during the 11th International Pyrheliometer Comparison Event, where 85 meteorologists from 45 different countries came together for three weeks to uphold a joint reference value (standard) for solar irradiance, and to calibrate their nations' instruments in accordance with this standard. The same standard can thus be used throughout the international solar irradiance measurement community. The sound track is also based on a recording of a dancer's silk skirt when dancing the Baroque dance Sarabande. The rhythmic structure of the Sarabande formed the basis for the editing, so that the meteorologists' gestures come across as a form of choreography. Modern scientific methods arose at around the same time as the Sarabande became popular at the French court. The Sarabande was originally a rather noisy, wild and erotic art form that originated in Guatemala and Mexico. It can be traced via Spain back to the Moors: the word sarabande itself is said to have meant 'noise' in the Moorish language. Said to have been Louis XIV's favourite dance, it expresses exquisite precision performed in an exaggerated manner. It gradually became very slow and restrained. The Sarabande is characterised by solemnity and controlled passion, and some music researchers have described it as being 'devoid of passion, with only ambition left'
Image: As a fellow Ellen Røed participated in the 11th International Pyrheliometer Comparison Event in Davos. The result is a film shown at her exhibition Skyvelære at Gallery 3,14 in Bergen.
Several of the pieces are based on footage from CERN, (European Council for Nuclear Research), in Geneva, recorded in collaboration with my colleague artist Signe Lidén. We went to CERN as part of Re:place, another artistic research project at KHIB.
Throughout this research I have followed in the tracks of
different scientists collecting stories and material, so when Signe
and I were going to CERN, I proposed that we follow the footsteps
of Odd Dahl, who was an inventor and instrument maker based in
Bergen and who was in charge of designing the first big accelerator
The Proton Synchrotron. While CERN is in itself an amazing concept as well as site, Dahl is a particularly interesting character, a true inventor of instruments. He only trained as a pilot, but he was awarded honorary doctorates at several universities for his contribution to nuclear physics. Having assisted Van der Graaff in Chicago, he also built the Van der Graaff machine at Høyden in Bergen, a machine which I'm also interested in and which has inspired my to build the machine-mobile in the exhibition. It is a kinetic sculpture that hangs from the ceiling, a machine with two arms that rotates slowly over the heads of the viewer. There is a speaker at the end of each arm. Signe has composed a sound piece for the machine using sounds she recorded in CERN using contact microphones and even a stethoscope. We have also made the video in the vault together, through exploring the archives at CERN and looking for traces of Odd Dahl. The photograph that you see in the exhibition is also from this material.
Can you tell us what your artistic
research project is about?
In Processing Change I've developed artistic work reflecting on devices and procedures that are used in video art and in natural sciences relating to the environment and representations of it. I've considered the relationships between representation, such as quantified data and images, and various levels of activities and agencies involved in creating such representations of the environment; field trips, storytelling, taking pictures, collecting or capturing data, measuring, calibrating.
Can you tell us about the origins of Processing
My initial questions about performativity in images and in developing an engagement with the environment is elaborated in work that I have pursued for a long time. The making of Elektra (2006) triggered a shift from working with video as a process to becoming interested in exploring the gestures involved in making process manifest, which has been developed in this project. I've been particularly interested in the role of images in these relationships, as they function differently from other data by creating the world, as Flusser (2000) has pointed out. I've considered how images can be regarded as being performative from this perspective. Notions of rhythm, storytelling, the construction of time and staging of associative connections form part of this. They have also offered another perspective on scientific practices.
What has the artistic focus been in the project?
The artistic focus has been on considering practices in the natural sciences and video art that involve a situated engagement with the world through instruments that act as an extension of the body, which aim to make process manifest. While notions of site, performance and apparatus have been explored, the practice of negotiating and tuning has turned out to be the most crucial activity in the relationships considered. Various levels of negotiations involved in making art and in making science have been juxtaposed through composition and image-making as well as practical experimentation with devices, such as adjusting vertical and horizontal spatial relationships, finding the position of the sun or exploiting the possibilities of a camera.
I have a direct, hands-on approach in my interaction with devices such as cameras. Given that certain tasks in science, e.g. calibration, require a hands-on approach, I've considered the gestures performed and the representations produced through working with the hands as well as through making automated devices. Gestures have also been considered representations in themselves. Formal aspects (formula, standards and procedures) have been considered in relation to informal elements, such as randomness and improvisation. I've also explored aspects of abstraction, rhythm, process, point, connotations and sound and image relationships during the project.
How did you start your artistic research
The research has been conducted in and through the practice and process of making art, which has enabled questions, associations and issues to evolve in the work. I started this project by using a video camera to make some pieces that explored the relationships between landscape, camera and the recorded image.
Certain gestures like tuning,positioningand other forms of negotiating have proven to be more interesting than others. Hence, I have juxtaposed levels ofnegotiatinginvolved in art and in science through image-making and practical experimentation with devices, such as adjusting vertical and horizontal spatial relationships, finding the position of the sun or exploiting the conditions of a camera.
How did your focus shift during the process of the project?
Initially I was concerned with process, as many of my previous works has consisted of unfolding processes. Then, just after I started my fellowship project, curators Susanne Jaschko and Lucas Evers curated the exhibition Process as Paradigm - Art in development, fluxus and change (2010). By displaying artworks that are in development - that grow, decay or in other ways change according to some kind of system, the exhibition aimed to explore'the instability and relative balance of systems and the processes that unfold in them'. The curatorial statement resonated quite well with what I had formulated as the defining tenet of my project. However, when confronted with the elaborate curatorial statements of Evers and Jaschko, I began to understand that they were not interested in discussing processes in terms of perception or representation. For example, some of the processes that were on display in the exhibition Process as Paradigm, were organic processes such as slow-growing crystals, decomposing leaves etc.; processes evolving slowly throughout the duration of the show (five months). This made me ask myself; how could an audience perceive the change taking place?
…'the works', wrote the curators,'demand persistent, durative and repeated observation'.
But how does that work for an audience or a critic? Many of these processes were exactly what caused scientists to invent timelapse and other means of representation, in order to be able relate to them with understanding.
At this point, I was beginning to realise that my questions weren't really about processes, but rather about how understanding is continuously developed through formal and informal structures, where humans, devices and environment influence each other. So, inspired by the curatorial approaches by Jaschko and Evers, my focus shifted from process to representations of process. The initial practical and reflective inquiries also made it apparent that my interest lay in the activities involved increatingsuch representations. New questions were starting to emerge: What happens when you employ video as an observational and data collecting tool, as a device for relating to the environment? For example, how much, or how little, activity will it take before a relationship develops between the camera and a landscape when collecting, observing and processing imagery from it? Such questions clearly resonated with the works of early video artists that explored the camera through its prosthetic capacities or as an autonomous device with its own mechanical body and electronic vision, such as the work of Steina Vasulka.
What would you say is the main focus of the
When you measure, you divide the world into set reference points, defined points that can then be used to find out something about the world. According to Bergson, outside these reference points there is duration or 'durée', which is real time. Between these two reference points, we can imagine that change occurs that manifests itself in the change between the reference points (information). I'm actually interested in this Bergsonian understanding of time and measurement, on the one hand, and the material that exists between them, on the other.
Another aspect is personal knowledge. I have been concerned with a pragmatic personal kind of knowledge or understanding that relates to researchers' and other scientists' everyday understanding of how they relate to their external surroundings through instruments. To what extent is what they do linked to an understanding of something bigger? Is it simply a matter of another day at the office? Nor is the role of researcher any longer synonymous with someone who does everything, develops theories and models, invents instruments, goes on fieldwork, collects data etc. There are groups with different roles. I became most interested in the researchers who handle instruments and collect data, because this is an activity I see being performed by many artists. What I really want to try and understand is how this works in art or in any kind of personal practice.
I'm interested in how I sense my surroundings in art, in fieldwork and filming, recording sound or collecting data from the surroundings, the data as time sequences of varying states of decomposition in itself, the personal relationships between the collector and the collection as body and gesture, calibration as the collector's negotiation with her instruments and material, about whether images/video can be performative, the camera as a device. The fieldwork is reproduced in the art.
Image: Ellen Røed, Processing Change, 2012
How would you contextualise your project?
The project emerged from two current parallel tendencies in art: Framing artistic work as artistic research, and the development of parallel forms of knowledge production that complement the natural sciences e.g. intimate science, citizen science or art and science.
A camera is an evil mirror constantly reminding me that the world will always be beyond my reach - that I can never connect with the world that I'm observing through it. But that is precisely the gesture that is offered by the camera; to connect with the world by filming it, capturing images from it. This tension, triggered by an experiential and critical awareness of the device, sets in motion a gravitational field of inquiry, which has developed into this research.
I've previously worked on art projects framed as artistic research. When evaluating the insights to be developed in these projects, I seemed to end up with more questions than answers. Using video art as a method, this artistic research project sought to explore what kind of understanding I might obtain through it, and the nature of the relationships involved in relating to the world through the medium of video art.
Scientists, artists, experts and non-experts e.g. Andrea Polli, Roger Malina, Tapio Mäkelä or Erich Berger of the Finnish Bio Art Society, form communities and networks to exchange understanding and other forms of knowledge that complements scientific knowledge about the natural environment. Artists engage in collecting data, sounds and images from the environment, or measuring and collecting samples such as plants or animals for further analyses e.g. Julie Freeman, Anu Osva or even OKNO in Brussels. Artists observe, listen to, take images of and measure levels of pollutants,very low frequency (VLF) phenomena in the atmosphere, solar radiation, the movement of the stars in relation to satellites and the temperature of the water in the oceans, etc.
Until about a decade ago, similar inquiries in the arts seemed to be more about investigating the digital; the prosthetic aspect of the devices, the networks, the sensors, the data. Artists were exploring what these things could do, how they generated meaning and how we could use them. These approaches have changed as a result of what we now know about the natural environment and climate change.
The many seminars, conferences and festivals about these issues, e.g. CRISAPS symposium for field recording, In the Field (2013) or Pixelache's Field work, Best Practice (2012) contribute to stimulating discourse. They often frame such practices as complementary to the natural sciences in terms of developing strategies thathave potential impact, as the activities of Helsinki-basedPixelache(2012), as a way of producingcultural imaginaries, as in Roger Malina's Intimate Science (Malina), or as contributing tocivil rightsconcerning data (Polli and Malina).
I find it interesting when these approaches focus on the activity of obtaining the data from the environment rather than on processing this data. This implies that the act of collecting or gathering data from the environment is in itself a way of creating insight, that it is an artistic practice itself.
Related attitudes were developed by several earlier artistic movements that are known asland art,video art, orart and science. Artists such as Steina Vasulka, Nancy Holt and Mary Lucier all explored relationships between the environment, the camera and the image. Marga Bijvoet discusses such practices within a historical framework that she develops in terms ofart as inquiry. It seems relevant to consider this again in an age when discourse on the relationships between art, research and the natural environment are marked by a new urge to consider art as a relevant mode of inquiry.
Scientific measurement and collecting of data involves complex procedures for making data universally comparable. This constitutes a difference between art and the natural sciences, at least in terms of how the quality of produced knowledge is understood or verified. Artistic understanding, insight and knowledge can be speculative and beyond logical reasoning or convention. From a different perspective, artists who are conducting measurements are of course free to draw any conclusion that pleases them from the resulting data, without considering its quality in terms of it being comparable and traceable to common standards.
In 3 stoppages étalon (3 Standard Stoppages), Marcel Duchamp demonstrated that, in art, standards can be personal, experimental and generated by chance. He also claims that they do not have to be unitary, it is actually possible to have three different but equally valid standards. He held his hands one meter apart and dropped a thread, thereby producing a meter that he would later claim as a basic geometric unit. This washisstandardmeterorétalonas the standard meter is called in French. His étalon wasn't only random, it was also personal. A direct result of the movement of his hands. He was demonstrating that his gesture is as good as any other convention. And then he dropped another one-meter thread. And then another. He thus ended up with the result of three gestures, three experiments, three performances, and they are all equally valid, for him, as a reference, as a measure. 3 stoppages étalon is remarkably precise and compact in its critique of science. The work is both in favour of and a critique of scientific methods. On the one hand, Duchamp is disappointed with the determinism that defines art as a creative medium and he critiques the emphasis on visual appearance and artistic self-expression. He is in the initial phase of developing a conceptual aesthetic thinking that points towards early ideas of systems/parameters/logic and mechanisms of transformations, as he developed inLe Grand Verre, and yet he is at the same time paying an interesting homage to personal gesture and randomness.
As proposed by mathematician and philosopher Henri Poincaré in 1902, the internationally approved scientific reference points, or standards, aren't representations of the absolute truth, but are based on conventions. Such conventions are the result of prolonged international processes, and are often followed by continuous calibration procedures to ensure that standards are distributed to the whole community. Even today, calibration events can last for weeks, while completely random incidents happening elsewhere, such as an invisible veil of sand being sucked into the atmosphere during a storm in the Sahara, can come between the sun and the instruments of the 85 meteorologists gathered in a car park in Davos in Switzerland to calibrate their instruments, and thereby destroy their data and render their measurements useless. This arbitrary, but at the same time performative, aspect of knowledge is what Duchamp was trying to make us understand when using randomness to produce a standard like he did in 1913.
What challenges have you considered along the
Through the various explorations undertaken in the project, I have reflected on different aspects of collecting data from the natural environment.Datacan be images, sound, numbers, samples, various forms of material collected or generated through observing, measuring, recording or in other ways investigating the world with devices such as cameras, microphones, sensors, trackers and antennas.Natural environmentis the part of our surroundings that may exist outside of the spheres of industrial production, although I realise that they cannot really be separated from the cultural environment or the environment in general. I am broadly referring to the parts of the external world that have traditionally been fields of study in natural science such as geophysics, physics and biology; i.e. the oceans, the sun, flora and fauna, weather, snow and the atmosphere etc.
I consider scientists' gestures when gathering data from the environment through video art, while asking questions about what it means to engage with the world through devices that capture data? Where does insight occur in such artistic practices? What has interested me in particular are the gestures of interacting with a device; the personal, situated, embodied gestures and how they serve to negotiate the relationships with the data, the devices used and the subject of study. By considering aspects of both data and performativity in relationships between the environment, the camera and the recorded image, from the aspect of tuning or negotiating, I bring together ideas of such gestures developed in relation to ubiquitous digital devices and video art.
Questions about the performativity of images emerged during the consideration of various levels of engagement in using devices to relate to the environment. Nick Kaye has discussed performative aspects of site-specific art through notions that have been useful for regarding such gestures as something that sets something else in motion, thereby activating the site of engagement. Exploring these concepts has also led to a stronger focus on site during the course of the research. When considering the work of the scientists and how it forms knowledge, issues like storytelling and rhythm have turned out to be quite significant.
What methods have you been using?
By using the natural sciences as a source of reference and material, I have gained access to a large, old and institutionalised system. This institutional body produces knowledge about the natural environment through devices and procedures, and it has extensive codified conventions on how the various structures involved in such practices generate form, meaning, images, ideologies and different forms of knowledge.
The project has developed from a few initiatives to generate material, such as meetings with scientists and field trips, followed by experiments based on some of the resulting material. The aim has been to explore the transitions between the different sets of understanding I'm exploring.
I've met with physicists, metrologists, oceanographers and meteorologists who have generously shared stories and experiences as well as provided access to their sites and devices. Through interviews, meetings, field trips and experiments with scientific devices, I've been exploring such practices by negotiating with the material. I've been on field trips to Davos, Kilpisjärvi and several locations in northern Sweden. I've been intrigued by the tacit and embodied practices expressed in the production of scientific work and discourses, as well as how they relate to more formal structures, such as scientific standards.
The appearance of the sun in the skies has been a
central motif in several of your works, why is that?
While being an absolute un-negotiable given, the sun behaves as an evasive point of reference, hiding behind clouds, trees, buildings and mountains.
You´ve made quite a few experiments during the process,
please tell us about them.
By experimenting with storytelling and portraiture strategies, this research has also been about finding approaches that enable contradictions and statements of different kinds to be part of the research, for example through associating measurements of solar radiation with Kepler's ellipse, a baroque dance and Louis XIV's body, when studying the form of a gesture performed with precision by a meteorologist on a mountain in Switzerland.
The works Observatory (2009) and Atlas (2009) were developed in an early phase of the research, as a way of reflecting on and developing issues about relationships between the making of images and observing the world. These have been further explored from different angles in the making of the projects While attempting to balance (2011), On balancing (2012) and So I went to Tjautjas (2013), which have served to generate understanding and reflection on topics that have emerged through the continuous negotiations involved in the project.
Image: Ellen Røed woring on her artistic research project Processing Change, 2012.
What has your period as a research fellow meant for you
and your practice?
It's different from being a full-time artist since everything has to be constantly articulated and defended, and you're part of a bureaucracy that can be very annoying at times. But it has given me an opportunity to work on big, difficult issues over a long period of time. For me, it was primarily a chance to use my own vocabulary as a way of breaking out. I could ask critical questions that challenged my own practice, and I tried to get rid of habits that I had developed in my way of being an artist: Instead, I went new ways that I was not sure would work. So I've taken chances that I might not have taken otherwise, and I have attempted to get to grips with questions and methods over which I haven't had full control. This hasn't always resulted in anything, but perhaps this process has been more important than the artwork I have created during the period. At times, I have worked with a terrifying sense of not knowing what I was doing, but at the same time of being on the right track. My ambitions were probably the opposite, but I was nevertheless very sure that I wanted to work in areas where things were unpredictable and where new things could happen. I'm surprised by where I've ended up and what I've discovered. At the same time, maybe the biggest surprise for me is the fact that I've nonetheless accomplished pretty much what I said I was going to, given that this has been a rather lonely, unclear and unpredictable process.
Supervisors for Ellen Røed are:
Joost Rekveld (NL), Associate Professor, Artist and Filmmaker, Lecturer, Researcher, Art Science Interfaculty, The Royal Academy of Art and the Royal Conservatory, The Hague. Read more
Trond Lossius (NO), Professor, project leader of Re:place, artistic research project at Bergen Academy of Art and Design, research and development coordinator at BEK, Bergen Center for Electronic Arts. Read more
Ellen Røed's exhibition Skyvelære opened at 7pm on 13 June at Galleri 3,14 in Bergen by Werner Schmutz, Director of the Physikalisch-Meteorologisches Observatorium Davos / World Radiation Center.
Ellen Røed: Skyvelære, Galleri 3,14, Bergen 13
June to 1 August 2013.
The exhibition is supported by Bergen Academy of Art and Design, The Norwegian Artistic Research Fellowship Programme, the City of Bergen and BEK, Bergen Center for Electronic Arts.
Background on Ellen Røed
Ellen Røed's work work spans from installations and audio-visual theatre/performance to video created in real time, often developed in collaboration with musicians. Her approach to video is performative and based on the inherent form and language of video as process, in a low-tech, conceptual-visual way. She often uses the live camera signal, recorded footage and generated images processed through the computer in self-made systems realised for a specific context and situation. Rather than taking control of the material in order to express something, she assembles material in ways that creates potential transitions or surprising relationships. As a working method, she aims to create some kind of gravitation, where the results are more like cast-offs that crystallise during the process than carefully planned intended results.
Ellen Røed is educated at the Academy of Visual Arts, NTNU in Trondheim, Norway (2001). Before that, she was part of the Norwegian art collectives MotherboardandVerdensteatret, which make projects mixing elements from both theatre and visual arts with electronic art. Røed soon became very interested in unstable and temporary forms, projections, and performativity. Having completed her formal education, she started working at BEK, Bergen Center for Electronic Arts, and since 2004 she has been working at Bergen Academy of Art and Design, first as Assistant Professor in Electronic Art and Digital Media, and currently as a research fellow in Fine Art at Bergen Academy of Art and Design, through the Norwegian Artistic Research Fellowship Programme (2009-).
Read more on The Norwegian Artistic Resaerch Programme here