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New field recording posted



Here is a new field recording blog post, from the first field recording excursion of the year. I am currently reading a PhD thesis by Ondine Park on the suburban imaginary, and it gives ample food for thought with respect to my own recording and listening practice.

BAD - Beyond Art Disciplines



BAD – Beyond Art Disciplines

Coming Monday I take part in a seminar at Uniarts in Stockholm. The seminar comes out of a two year Erasmus+ partnership between Stockholm University of the Arts, SKH (Performing Arts and Opera), the Iceland University of the Arts (Music and Performing Arts) and the Hanze University of Groningen (Music and Fine Arts). The aim is to create a cross-cutting transdisciplinary arts module, wherein artists will expand, improve and enhance their community of practice, professional development and employability.

San Francisco Tape Music Festival



If you are in the Bay Area next weekend, you might want to check out the San Francisco Tape Music Festival. A work of mine is part of the late evening concert Saturday 11.

A lot of the material for my piece originates from the Atmospherics collaboration with Je Welshtwo. Here are the program notes for my piece “Listening understood as inhabiting”.

I and my friend Jeremy Welsh often travels suburbs and rural areas in Western Norway. He brings a video camera, and I take along recording equipment. We use the resulting material in a series of audio-visual installations. The impression that these places leave often differs between sound and image. The eye experience scenic fiords. Nature and weather dominate, in spite of power lines, roads and buildings along the fiord. The field recordings testify to how these places are now domesticated. Human activities, machines, traffic, electricity, helicopters and passing airlines dominate the soundscapes.

This work starts from a series of field recordings from Western Norway and beyond. Some recordings are further processed and abstracted, and other layers added. The result is a psychogeographic reading of these places. In this composition, I want to create a sequence of places, fields and textures that we can listen to and inhabit. I hope this active listening will continue after the concert, as we re-enter our everyday lives and surroundings.

I will not be present, but Joseph Anderson is responsible for the diffusion, so I know that it is in the best of hands.

Experimenting with 3rd order spatial transfrorms


Ambisonic 3rd order spatial transform from Trond Lossius on Vimeo.

Yesterday in a video chat, Joseph Anderson suggested some ways of transforming higher-order ambisonic sound fields. This video demonstrates a prototype test of one of them, similar to the ATK Push/Pull transform, but in 3rd order.

Edgelands - New work at Ultima festival



Ewa Jacobsson and Thom Johansen:
Soundcheck for another piece to be premiered tonight.


I have a new work premiering at a concert at Sentralen in Oslo tonight. The work is a commission from NOTAM, and the concert is part of the Ultima Contemporary Music Festival.

A lot of research has gone into the making of this work. It is the first time that I make use of field recordings done using the Zylia microphone that enables recording of third-order ambisonic sound fields. I have also done a lot of research and development into processing and transformations of first- and third-order ambisonic field recordings. Some of this research I presented at the conference in Vilnius last week, and I will also do some demos at the Sonic Wunderkammer workshop tomorrow. The creative process has been an opportunity to revisit thoughts on artistic research and how they relaste to my own practice. Tim Ingold’s book “Making : Anthropology, Archaeology, Art and Architecture” has been a valuable and inspiring conversation partner during the process. Finally comes questions pertaining to the kind of places and soundscapes that I tend to focus on in field recordings; the suburb and the outskirts of urban zones.

From the program notes for the concert:

Trond Lossius is one of Norway’s most prolific sound artists, and in Edgelands he has combined his field recordings of suburbs and city limits, those liminal zones where human activity fades away and nature takes over. An engaging and surprising soundscape merging human infrastructure with the wild.

I would like to thank NOTAM, and in particular former and current artistic directors Notto Thelle and Christian Blom for giving me this opportunity, and Ultima for including it in their festival program. The commission is supported by Arts Council Norway.


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