Me and colleague Trond Engum gave a presentation at The Art of Record Production 2014 conference in Oslo, December 6th entitled Unheard Sounds: The aesthetics of inaudible sounds made audible.
Abstract: In the recording industry, the quest for the ultimate high fidelity sound reproduction
has spurred the use of digital formats with ultra-high definition, in particular with bit
resolution and sampling frequencies well above the CD-standards of 16-bit/44.1kHz.
While the benefits of ultra-high sampling frequencies are debated, we will
demonstrate how recording in the ultra-sonic range can have aesthetic potential.
In the project Unheard Sounds we have recorded a range of concrete sound sources
using a microphone sensitive up to 100kHz sampling the signal at192kHz. The same
signal has also been sampled at 48kHz for comparison. With these recordings as our
basis, our presentation will focus on our investigations of:
a) the differences between using 48KHz and 192KHz for different processes and
applications. For which processing strategies and perception modes does ultra-high
sampling rates achieve results that industry standard won’t achieve? At this point, we
have shown how a simple technique as downward transposition by re-sampling,
where transpositions of one octave or more, results in clearly audible differences
between the two.
b) transpositions of ultrasound as compositional material. Which sonic structures and
qualities are found above the human hearing threshold for different sound sources?
Filtering out all audible frequencies and then transposing the ultra-sonic frequencies
down to the audible range has opened up for exploration of musical potential in an
c) recording strategies for sounds above our hearing threshold. Is it possible to
navigate microphone placement without monitoring the sounds, and do the sound
sources we choose even represent information in the ultra-sonic range?
d) composing/producing a musical piece based on the findings. The recordings of
different concrete sounds and findings related to transposition will be categorized in a
sample library. This sample library will be used for further processing and as building
blocks in a short composition/production.
Sound examples will be published at a separate web site at a later stage.
is a little project I had which was associated with the Hiperorgânicos IV event at the NANO lab at EBA in Rio fall 2013. This event broadcasted a lot of sensor data from plants in their in-house terrarium over the internet, so that it could be streamed from locations all around the world. Being located in Norway, where it was late autumn at the time, I found it appropriate to create a kind of distant organic echo using dead leaves, and then let the leaves be animated by an electric fan, which was controlled by the data from the terrarium in Rio. The sound of the leaves rustling was picked up by piezo and condensator microphones, gently processed and accompanied by a discreet drone. The sound was then supposed to be streamed back to the NANO labs terrarium for the plants to enjoy. However, due to technical problems in Rio, the audio streaming was never effectuated. Eirik Havnes was so kind to assist me with soldering and rigging the microphones. The video can be found here.
Performance at ICMC/SMC2014 in Athens
Being accepted to the ICMC/SMC conference with Jeu de mode we had the challenge of finding funds for bringing the three required dancers there. When our attempts failed, we instead decided to present a piece based on recordings of a Chinese poem by the Weimar based opera singer Fang Hao. This resulted in a two part study in interactive dance which we called Songshan Mountain, after the title of the poem. It was put together and rehearsed during the three first days of the conference and presented at a night concert September 17. The first part was coreographed while the second was structured improvisation. Robert Wechsler danced and coreographed while I made the music. The Norwegian Embassy in Athens were so kind to sponsor our accomodation, and had a nice little article about the performance on their website.
After an invitation from Madeleine Shapiro I had the pleasure of playing two pieces at the New York City Electroacoustic Music Festival June 3 and 4. The first performance was Jeu de modes featuring dancers Jossia Clement, Annika Dörr and Teoma Naccarato with coreography by Robert Wechsler.
In the second performance the same dancers performed La dance II, a piece I developed in collaboration with cellist Madeleine Shapiro and Robert Wechsler using live sampling and treatment of live cello sound along with motion tracking of dancers and cellist.
May 30 the Department of Contemporary Dance at Concordia featured a performance of Jeu de modes, with dancers Annika Dörr, Jossia Clement, and Teoma Naccarato.Jeu de modes is an interactive dance piece I composed and Robert Wechsler coreographed exploring ranges of dynamic in expressive gesture – from small discrete finger movements, medium sized "conversational" gestures, to large, energetic swipes and explosive outbursts – and how these movements can be interpreted sonically. The title plays on the composer Francois Bayle’s theoretical work regarding the phenomenology of listening and acousmatic music – music without visual sound sources. The piece utilizes TOF (time-of-flight) sensor technology and custom-built software implemented in MotionComposer. With exception of the fixed intro, the piece is entirely composed with csound. An edited video of the performance can be found at https://vimeo.com/113473411. Listen to an audio excerpt here.
2014: May the 29th me and Robert Wechsler had a workshop at Concordia University Montréal aimed at dance, music and technology professionals and students. We also had generous assistance from Teoma Naccarato (who hosted and organized the event), Jossia Clement and Annika Dörr who danced an excerpt from "Jeu de Modes" as an opening of the workshop. Robert talked about his artistic work and followed up with the more recent work with motion composer. I had a short technical session explaining the general functionality of the EyesWeb component of Motion Composer along and the csound component of the Particles environment. The fun began when we divided the group into two and let them play with each their Motion Composer system. The participants, many of them dance students, were very good at exploring the environments and they were so caught up in it that the problem was actually to make them stop moving and dancing. A lot of fun! We closed the workshop with an open conversation/discussion where many interesting points and experiences came up.
Together with Robert Wechsler, Teoma Naccarato, Annika Dörr and Jossia Clement I held a workshop at the C.A.R.E centre in Montréal using the Motion Composer May the 27th (2014). The participants from C.A.R.E were a group of great people with a positive attitude and curiosity for this strange piece of soundmaking technology we brought with us. Since they were exclusively wheel chair users they mostly worked with the chair versions of the environments of the Motion Composer. Many of them played great solos, especially Frank, who played an amazing solo on Tonality, shaping out beautiful musical phrases with nuance and dynamics, often reminding of Liszt. The picture below is taken at another event.
Ives Schachtschabel, was introduced, and we greatly enjoyed his improved version of the Tonality environment.
In december 2013 the report T-EMP: Trondheim Electroacoustic Music Performance - Communication and interplay in an electronically based ensemble was printed. The project contains a description of the methods the collaborators in T-EMP have applied in the artistic research project, as well as artistic output and artistic results. I have contributed with a section on audience reception of the ensemble at one particular occasion. The report can also be found online at researchcatalogie.net.
The interactive dance piece Play of Modes (Tiresias), to which I composed the music, was performed at CYNETART 2013 November 15th in Dresden, with coreographer and dancer Robert Wechsler, dancers Annika Dürr and Thomas Mader, with technical assistance from Marcello Lusanna. A video of the performance can be found here.
November 13th I arranged a loudspeaker concert at Rockheim presenting acousmatic pieces for diffusion and ambisonics. Natasha Barrett and Anders Vinjar from Electric Audio Unit presented their own ambisonics works along with pieces by Hoffmann and Manocchi. In addition, master students from the Music Technology Program at NTNU diffused their own stereo pieces, using a 22-channel diffusion rig. I was fortunate enough to open the concert with a premiere of my own piece "Play of Modes - Overture", which is a reworked and extended version of the opening of "Play of Modes" performed at re-new. Listen to the piece at soundcloud here.
Together with the head of MotionComposer, coreographer and dancer Robert Wechsler I contributed at the re-new Digital Art Festival in Copenhagen October 28.- November 2. The festival presented a great variety of new media art forms, including interactive installations, robotic instruments, multimedia art works and music, dance and art performances. Our first contribution was a paper presentation, entitled "Movement-Music Relationships and Sound Design in MotionComposer, an Interactive Environment for Persons with (and without) Disabilities" (download paper proceedings here). Our planned interactive dance performance "Play of modes", selected as one of 17 accepted performances of 246 submissions, had to be somewhat modified due to our dancer taking ill, but fortunately the wonderful canadian dancer/coreograph Teoma Naccarato came to our aid, and danced two of her parts, with a brilliant result. Lastly, we did a workshop. There we gave an introduction to video based motion tracking and its use in the Particles environment that I am designing for MotionComposer. The parti cipants had brought their own sounds that we adapted together, so that they finally could play these sounds in the Particles environment.
Organised Sound, vol. 18, issue 2, entitled "The Maximal–Minimal Model: A framework for evaluating and comparing experience of voice in electroacoustic music". It is based on work I did in my PhD. If you have a subscription, you can read it here.
EMS2013 conference taking place in Lisbon, Portugal. There, I am presenting the paper together with Asbjĝrn Tiller from the Department of art and media studies at NTNU entitled I am sitting in that room – reverberation, resonance and expanded meanings and Lucier’s I am sitting in a room. Abstract can be found here.
International Symposium and Workshop with MotionComposer as guest composer. As earlier it was a week packed with intense work and good experiences. The first big challenge was getting all environments to work with the new tracking software developed by Paolo Coletta and Simone Ghisio at InfoMus. They made huge improvements and we were thrilled to see glimpses of what the additional 3d sensor (this time using Kinect) can imply for the tracking. I was also thrilled to meet and get to know the work of other composers, Giacomo Lepri (also InfoMus), Pablo Palacio (Spain) and Marcello Lusanna (Italy/Berlin). As earlier each day included a session with disabled people from Apolda who came in and played our environments. This gave us valuable feedback as to what worked well and not so well in our patches. The workshop ended with a show at the Audiomax Halle in Weimar, where the group from Apolda performed with the environments. This year we also had performances from Rober Wechsler, the director of MotionComposser, a dancer, Annika Dürr, who performed solo and in a duet with Thomas Mader, playing my Particles environment.
Experiencing Voices in Electroacoustic Music.
Organised Sound which makes extensive reference to my PhD thesis, i will start with getting the thesis project page up again.
Sorry for all this!