By Ingrid Katrine Amundsen

I am an architect, human geographer and artist. My main interests is human geography and particularly economic geography with questions related to social and green justice, inequality, evolutionary economic geography, institutional theory, and system theory. As an artist I'm self taught and genuinely interested in street art, installations, performance art, sculpture, color and photography. As an architect I'm interests in experimental contemporary architecture, with focus on intricate spatial narratives. My work is radical, it follows the principles of radical interdisciplinary, it's experimental, conceptual and idealistic. On this website you can simply follow my progress and development as an artist, human geographer and architect, through the use of a method inspired by system theory: the method I follow to develop ideas is to link, displace or shift existing items in new and unexpected ways. This existing method of creating innovation and system changes is inspired by Bertalanffy's (1968) general system theory.

An example of this method is seen in the collages "To the Lighthouse". Here I have connected two different series of photographies, a series of photos of Lyngør Lighthouse outside the Lyngørfjord in Aust-Agder, Norway, and a series of flower pictures from the costal path at Borøya also in Aust-Agder, Norway. The two photo series create a new meaning as seen in: To the Lighthouse (2013). In the collage series "Layers" I have combined similar visual expression, but overall they provide a more complex visual expression. The information of the different visual layers here are concentrated: Layers (2013/2016). You can also see the method inspired by system theory in some of my earlier works in urbanism; "Computer". In this project I have used the computer as a tool to create a complementary city system: Computer (2000). In the thematical works on street art the method of double exposure, interdisciplinarity, cross-cutting and a system approach is suggested for further explorations: The Street as the New Art Forum (2016). In a brief essay on Tate Gallery of Modern Art in London, Great Britain, institutional theory of art, refractions, system functions and evolutionary theory at a system level is utilized to understand the systems of power and innovation within the institutionalized artworld. I also proposed four different definition on art; an open definition, a closed definition, an Avant-gardiste definition and a refractionary definition. I also argue for a system analysis of the institutional art world, and present its core institutional constituents. You can read the brief essay here: The Cathedral of Modern Art -- A Phoenix of System Change: Art as an Institution, the Avant-garde and the Capitalists (2019). These methods utilized expresses that the different projects are somewhere between science and art. The essays suggest a use of radical disciplinarity, or to connect disciplines that are radically different, to create new insights. The different methods have also inspired me to experiment with a methodology, where I mix fictional writing with scientific writing and confessional expressions, to highligt a specific purpose with the text or photographies -- as displacements. The aim is; through experimenting with metaphors, fictional expressions, confessional expressions and drama techniques, to create a systemic approach to an artistical or scientific intention, purpose, concept or idea, where form and content is displaced. This is indeed expressed in one of my first academic essays in human geography, intimate love relationships is contrasted with armed conflicts and war caused by states or nations in the quest of becoming legitimate nation states: To Love Your Enemy/Diligere Inimicum: Love in a Hopeless Place? (2017). At this webpage I also promote the use of open science, or democratization of knowledge, since all essays are written online for public evaluation, from the fumbeling beginning to its fulfillment. All trial and errors are published along the way. Hopefully, I have learned something by making mistakes, so that the end result is; not picture perfect, but is meaningful, and at least presented without successive and significant errors.

The illustration above shows how I utilize system theory as a methodology in my works. This sketch of a methodology is highly simplified. It shows that anything can be displaced by anyone, it is that simple to enter the Field of system change. Several of the systems and structures, in the illustration, consist not of a content, but of several subordinate systems again. The human body is such a system in itself -- it consists of many subordinate systems such as circulation, heart, nervous system, brain and cells. Therefore, the method can also be described as system/system displacements and in some cases, also content/content displacements, not just system/content displacements. This issue travels a critical question: Does not everything on Earth consists of systems at different levels? Is not everything on Earth composed of atoms? And these are also systems. Nevertheless, there are also non-material systems and elements that are constructed by humans, such as the theoretical foundations for democracy, grammar or notes, symbols and signs, and these are easier to label as displacements through either form/order/model/system/structure/whole and/or share/element/ part/content. This brief text identifies three types of displacements inspired by Bertalanffy (1968): system/system, system/content and content/content. I argue simply argue that art consists of form and content displaced. The intention behind this brief text is to argue that innovation and system changes happens through displacements either accidentally; such as a flaw in an experiment or testing of a new drug that gets unheard effects, or consciously by the researcher or the artist utilizing a symbiosis of system theory, stream-of-consciousness, scientific interdisiplinarity, double exposures and split-scene as a methodology to make new combinations and accheive unexpected results. While the researchers goal is through intuition to create innovative science, the artists will strive at exploring innovation within new forms of art, guided by their creative intuition. The intentions, processes and goals of the scientists and the artists, is therefore methodolgically related and overlapping.


Copyright ©. All rights reserved IART Ingrid Katrine Amundsen, 2007-2019. (Do not reprint without premission).



Bertalanffy, L. (1968). General System theory: Foundations, Development, Applications. New York: George Braziller, pp. 1-296.