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Long day


I was cathing an early flight to Oslo and arrived at Statens kunstakademi at 10:30. The rehearsals has moved from Grusomhetens teater at Hausmania to Skulptursalen at Statens kunstakademi for the next three weeks. It feels good to move from a dark cellar to a white room.All windows were of course covered up as we’re using a lot of video and lighst but the room still feels brighter.

During my previous session in Oslo Verdensteatret had started devellop material develloping organicly from olne situation onwards. I had the feeling that it might be difficult to devellop when you do not know in what direction you want to go. I therefore suggested to start devellop several situations that didn’t necsessarily have to connect to each other yet. When I came back yesterday the scenography has develloped and they were working on a different situation within it. Also a prepared piano with live processing is introduced.

The father of one of the actors Corine was watching most of the rehearsals and gave a very precise definitioon of what we’re aiming at. This is becoming a complex world with a lot of simultaneous stories. "If there’s a story there’s something wrong". Lisbeth said that Verdensteatret is sometimes criticised for telling 15 stories at the same time. To me this is a way to come to terms with the fact that the world is to big and chaotic for us to try making one theory one history and one point of view that everything should be able to fit into.

Arild Bomann came in after rehearsals and played us some tapes from the late seventies a weird kind of jazz using alt sax (Kalle Neumann) and a moog (Arild) and resembling side 2 of Bowies “Low”. I digitized them but haven’t had the time yet to clean it up and burn to CD.

Alse Lisbeth me and Piotr (Peter) continued to work into the night testing out music I was bringing along listening to music Lisbeth and Asle found interesting and working on some of the videos.

Peter is facing similar problems to what I and Håkon did during the devellopment of Tsalal: How to handle large Max patches for controlling real time video processing so that it becomes a setup that is useable in actual performances and at the same time keeping maximum flexibility during current devellopment? I’ve looked into Jade earlier on but I don’t think it will suit or needs for video during this production. We started discussing possible solutions.

I was back at the flat I’m staying at around midnight and set down to create 800×600 JPEGS from the slides I took during the trip to Greenland. It didn’t take too long to create a batch processing patch for conversion in Max/Jitter.



I woke up real early today (05:00) and spent time before the kids woke up cleaning up a memo on the discussions Kurt and I did last week. I feel that we came a long way towards clarifying concepts. Most of the time was used for discussions and developing a framework for the installation. We’ll probably spend some time together in New York in March. Then we’ll take a different approach: Instead of working from above defining concepts and framework we’ll work from within playing around with material improvising and responding to what the other one does.

Sound for the Bridge


Jeremy Welsh and me spent a couple of hours today discussing ideas for the installation in Kristiansand.

The Bridge is a meta project for Jeremy’s investigations of the boarders and relations between painting and video art. Jeremy and painter Jon Arne Mogstad are going to do an installation at Christianssands Kunstforening opening on the 6th of March and has invited me to contribute sound for the installation. Jeremy’s videos are based on still images but abstracted beyond recognition.

My approach is to start of with a bit of brain storming to come up with a catalogue of possibilities. I’ve decided to develop 10 different strategies for creating synthetic sounds based on the videos Jeremy is providing me. Once I have these sketches going I’ll use them for creating instruments. Next I’ll be facing a problem I’ve been dealing with several times before: How to compose with these instruments? When I first started working on sound installations I was so concerned about dealing with sound in itself and felt that I had feed myself from more traditional problems of composition. Later on I came to realize that I still have to think of how different sounds relate to eachother in time and space but I have to develop a different set of techniques for doing so as compared to more traditional note based composition.

For the last year or so I’ve been obsessed with real time granulation based on a Max patch created by Ben Thigpen and distributed as part of Ircam-forum. I’m going to use that for this installation as well. I played some of the sketches for Jeremy today and played around with the material I’ve got so far. We also discussed how to deal with video and audio in the room but a lot of this has to be decided when we mount the installation.

The installation is to open on March 6th this year.

Off to Oslo


My wife is at my office to pick up me and my gear. Tomorrow I’m off to Oslo to work with Verdensteatret for the rest of the week. Håkon mailed me an update earlier today about what had happened since my previous session in Oslo.



An update of the Max/MSP SDK for writing your own Max 4.100 (OS9) and Max 4.3.1 (OSX) externals was released a few days ago.


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