Drawing my path of emergent ontology: Cross-discipline/Pro-detail/One world/Quantum/Inquisitive

Although music therapy is a profession that has been implemented into the health care systems of a number of countries around the World, there have been many premises which have had to be fulfilled for this process of governmental, political, ethical, social and personal acceptance to be enacted.

Fascinatingly, a global glance at the use of music as or in therapy shows it not a ubiquitous undertaking, but one that has been constructed in accordance or/and in defiance of a local and national systemic context based on selected and separated argumentation.

As a clinical music therapist and researcher I have spent most of the past two decades immersed in spontaneous, real-time inter- and intra-action related to active music involvement. In my clinical work I have been immersed with people with idiosyncratic health biographies including children and adults with cancer, accidental and non-accidental severe traumatic brain injury and with people affected by developmental and traumatic isolation.

During earlier years in this work I was drawn towards conventional concepts of related to related topics including the senses, cognition, ‘The Brain’, ‘The Body’, health and well-being and indeed what a human being is. I have also been immersed in cross-disciplinary theory on anticipation/movement studies (soccer, sailing, dance), cognition/visual design (research dissemination, fine art, film), perception/imagination (drawing, animation, acoustic imagination).

My more recent work however is colored by an embodied, extended and intertwined ecological stance. From this stance it becomes quickly clear that earlier conceptual conventions are blatantly insufficient and commonly misleading when considering the manifold of ways that humans are, and particularly in my own field, how they engage with music in relation to their health.

At the present time, I am immersing myself into how concepts of central, peripheral and social systems may be putting at risk the performative nature of the inseparable human.

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Image: A photo of one of my desks in 2015: Computer-based video analysis system (Noldus Observer XT), drawing pens for analysis of drawing ideas, hand casts from my In visible hands project, a single grand piano key action as a part of a project on materiality and ecological understanding of music therapy, headphones for deep listening of recordings from archive of therapy processes and interview conversations, beveled sculptors tool for work in acrylic , Copyright Simon Gilbertson 2016

University of Bergen, Norway
Faculty of Fine Arts, Music and Design
The Grieg Academy – Institute of Music
The Grieg Academy Music Therapy Research Centre