February 3, 2007
The research fellowship is coming to an end. The final exhibition Cubic Second was exhibited in November. The written documentation and reflection on the artistic process has to be completed over the weekend. Last Wednesday officially was the last day as an employee at Bergen National Academy of the Arts. Thursday was official the first day back as an employee at BEK after a three year leave. Yesterday afternoon when trying to get into the studio at the art academy the key card was rejected.
I recently heard the alpine skier Kjetil Aamodt saying that the virtue of throwing in the towel at the right moment is highly over-estimated. I have been a bit surprised at not being more sentimental about ending the fellowship and leave KHIB. I have had a ball for the last three years and KHIB has been the best place imaginable to work high tempo ambitious friendly focused and fantastic colleagues both academic and administrative. I am grateful for having been allowed to work the way I have for the last three years.
I am also looking forward to returning to BEK. I believe we have a lot of potential for interesting work and projects in the future. I hope that we will be able to dedicate ourselves to ambitious larger-scale projects. I knwo from beforehand that one easily gets sucked into assisting in an endless stream of smaller projects putting out one fire after the other . I hope that we will be able to adopt the idea of art-based research and development as a model for our work at BEK and direct energy and time towards activity that moves us forward not only jumping sideways. The financial state is a lot better than it was at the time I left as we managed to secure governmental support. 2004 was the first year a budget in balance could be set up at the start of the year. This will free up much more time for actual art-related work for me than in 2002 and 2003.000 Those two years fund-raising and securing the future of BEK was the main concern and very time and energy consuming.
A few weeks ago I had a meeting with Paula (dean of Department for fine arts) Nina (headmaster) Johan (director) Astrid (headmaster of information) and Grethe Bjørndahl (coordinator for the fellowship program) to discuss the practicalities of remaining tasks.
The public discussion of the project with the committee the last strand of the evaluation process is scheduled for March 9 starting at 13.30. The procedure of that is as follows: I first give a 45 min. presentation of the project. After a 15 min. break there is a conversation/discussion between me and the committee lasting for about one hour. At the end questions from the audience is permitted for about 15 min.
At the meeting I expressed that I hoped to be able to spend more (informal) time with the committee after the public conversation. When they were in Bergen in November I was not permitted to spend time with them apart from briefly meeting them as they arrived. On one hand I understand the concern for not permitting anything to potentially compromise the integrity and objectivity of the work of the committee. On the other hand frankly I am much less concerned about the formal evaluation and the outcome of it than the possibility for a good exchange with some very qualified persons that has been spending quite a bit of time investigating my work. The formal qualification aspect of the program was always second priority for me much less important than the development and quality of the actual artistic work and my own artistic development. (I probably should add that the framework of the fellowship program and the trust shown by my supervisors have so far never created any conflicts between these two concerns.)
February 3, 2007
June 2006 Ivar Grydeland and the two French sound artists Xavier Charles and Marc Pichelin mapped soundscapes in the Troms county. The sounds of activity on a fishing boat packing of dried cod herds of rein deer and arctic birds form the basis for a record to be released by SOFA in February 2007.
Xavier Charles – clarinet and vibrating surfaces
Marc Pichelin – soundscapes and electronics
Ivar Grydeland – prepared banjo
At the Sound Art Gallery in Bergen several installations and a concert combines field recordings acoustic instruments and electronic sound.
Sunday February 4:
Installations opens at 19 concert starting 20
Monday 5 – Tuesday 6
Installations open 14-19
The Sound Art Gallery
Østre Skostredet 3 Bergen (NO)
In collaboration with Ny Musikk Bergen. Supported by The Municipality of Bergen and The Norwegian Art Council
February 6, 2007
In ambisonics shelf filters are used to enable separate decoding for low frequencies (below 500 Hz) and high frequencies as auditory localization depends on interaural time differences for the former and interaural intensity differences for the latter.
Shelf filters are generally implemented as finite impulse response filters using convolution. I am pondering the possibilities of using 4th-order Linkwitz-Riley filters for shelfing. Linkwitz-Riley filters when added up again reproduce correct intensity at all frequencies and the low and high components are phase-aligned at all frequencies. These are the properties that make them suitable for crossover in digital circuits for loudspeaker designs. Maybe it would also work well fro shelf filters?
Below are screen captures from a Max patch made to double-check the frequency response of filtered and combined signal. tl.crossover4~ is part of tl.objects.
Spectrum of filtered and raw signal with white noise as source. Click on image for closer view.
Spectrum of filtered and raw signal with pink noise as source. Click on image for closer view.
The Max patch is below.
#P window setfont “Sans Serif” 12.000
#P window linecount 1
#P comment 416 520 32 196620 raw
#P comment 133 520 55 196620 filtered
#P comment 31 494 320 196620 Log Frequency Scale , Log Amplitude Scale
#P window setfont “Sans Serif” 9.000
#P newex 336 520 71 196617 receive~ raw
#P user spectroscope~ 535 555 66 200 20 1 0 0 1 1 0 1 0 0 0 0
#X frgb 224 224 224
#X brgb 255 255 255
#X rgb2 0 0 0
#X rgb3 243 204 204
#X rgb4 255 0 0
#X rgb5 184 184 184
#X rgb6 0 0 0
#X rgb7 0 0 0
#X rgb8 255 255 255
#X rgb9 255 0 0
#X rgb10 255 191 0
#X rgb11 0 191 127
#X rgb12 127 0 127
#X rgb13 0 0 0
#X range 0.000 1.200
#X domain 0.000 22050.000
#X done
#P user spectroscope~ 336 555 200 200 20 0 1 3 0 1 0 1 0 0 0 0
#X frgb 224 224 224
#X brgb 255 255 255
#X rgb2 0 0 0
#X rgb3 243 204 204
#X rgb4 255 0 0
#X rgb5 184 184 184
#X rgb6 0 0 0
#X rgb7 0 0 0
#X rgb8 255 255 255
#X rgb9 255 0 0
#X rgb10 255 191 0
#X rgb11 0 191 127
#X rgb12 127 0 127
#X rgb13 0 0 0
#X range 0.000 1.200
#X domain 0.000 22050.000
#X done
#P newex 31 520 87 196617 receive~ filtered
#P user spectroscope~ 230 555 66 200 20 1 0 0 1 1 0 1 0 0 0 0
#X frgb 224 224 224
#X brgb 255 255 255
#X rgb2 0 0 0
#X rgb3 243 204 204
#X rgb4 255 0 0
#X rgb5 184 184 184
#X rgb6 0 0 0
#X rgb7 0 0 0
#X rgb8 255 255 255
#X rgb9 255 0 0
#X rgb10 255 191 0
#X rgb11 0 191 127
#X rgb12 127 0 127
#X rgb13 0 0 0
#X range 0.000 1.200
#X domain 0.000 22050.000
#X done
#P user spectroscope~ 31 555 200 200 20 0 1 3 0 1 0 1 0 0 0 0
#X frgb 224 224 224
#X brgb 255 255 255
#X rgb2 0 0 0
#X rgb3 243 204 204
#X rgb4 255 0 0
#X rgb5 184 184 184
#X rgb6 0 0 0
#X rgb7 0 0 0
#X rgb8 255 255 255
#X rgb9 255 0 0
#X rgb10 255 191 0
#X rgb11 0 191 127
#X rgb12 127 0 127
#X rgb13 0 0 0
#X range 0.000 1.200
#X domain 0.000 22050.000
#X done
#P window setfont “Sans Serif” 12.000
#P comment 416 231 32 196620 raw
#P comment 133 231 55 196620 filtered
#P comment 31 205 320 196620 Linear Frequency Scale , Log Amplitude Scale
#P window setfont “Sans Serif” 9.000
#P newex 336 231 71 196617 receive~ raw
#P user spectroscope~ 535 266 66 200 20 1 0 0 1 1 0 0 0 0 0 0
#X frgb 224 224 224
#X brgb 255 255 255
#X rgb2 0 0 0
#X rgb3 243 204 204
#X rgb4 255 0 0
#X rgb5 184 184 184
#X rgb6 0 0 0
#X rgb7 0 0 0
#X rgb8 255 255 255
#X rgb9 255 0 0
#X rgb10 255 191 0
#X rgb11 0 191 127
#X rgb12 127 0 127
#X rgb13 0 0 0
#X range 0.000 1.200
#X domain 0.000 22050.000
#X done
#P user spectroscope~ 336 266 200 200 20 0 1 3 0 1 0 0 0 0 0 0
#X frgb 224 224 224
#X brgb 255 255 255
#X rgb2 0 0 0
#X rgb3 243 204 204
#X rgb4 255 0 0
#X rgb5 184 184 184
#X rgb6 0 0 0
#X rgb7 0 0 0
#X rgb8 255 255 255
#X rgb9 255 0 0
#X rgb10 255 191 0
#X rgb11 0 191 127
#X rgb12 127 0 127
#X rgb13 0 0 0
#X range 0.000 1.200
#X domain 0.000 22050.000
#X done
#P user ezdac~ 226 40 270 73 0
#P newex 31 231 87 196617 receive~ filtered
#P user spectroscope~ 230 266 66 200 20 1 0 0 1 1 0 0 0 0 0 0
#X frgb 224 224 224
#X brgb 255 255 255
#X rgb2 0 0 0
#X rgb3 243 204 204
#X rgb4 255 0 0
#X rgb5 184 184 184
#X rgb6 0 0 0
#X rgb7 0 0 0
#X rgb8 255 255 255
#X rgb9 255 0 0
#X rgb10 255 191 0
#X rgb11 0 191 127
#X rgb12 127 0 127
#X rgb13 0 0 0
#X range 0.000 1.200
#X domain 0.000 22050.000
#X done
#P user spectroscope~ 31 266 200 200 20 0 1 3 0 1 0 0 0 0 0 0
#X frgb 224 224 224
#X brgb 255 255 255
#X rgb2 0 0 0
#X rgb3 243 204 204
#X rgb4 255 0 0
#X rgb5 184 184 184
#X rgb6 0 0 0
#X rgb7 0 0 0
#X rgb8 255 255 255
#X rgb9 255 0 0
#X rgb10 255 191 0
#X rgb11 0 191 127
#X rgb12 127 0 127
#X rgb13 0 0 0
#X range 0.000 1.200
#X domain 0.000 22050.000
#X done
#P newex 285 164 57 196617 send~ raw
#P user umenu 31 40 100 196647 1 64 56 1
#X add none
#X add white noise
#X add pink noise
#P newex 31 76 62 196617 selector~ 2
#P newex 177 40 34 196617 pink~
#P newex 135 40 39 196617 noise~
#P newex 31 164 73 196617 send~ filtered
#P newex 31 138 27 196617 +~
#P newex 154 107 120 196617 tl.crossover4~ high 500
#P newex 31 107 118 196617 tl.crossover4~ low 500
#P window setfont “Sans Serif” 12.000
#P comment 31 14 100 196620 Select source
#P user panel 26 195 596 278
#X brgb 192 194 210
#X frgb 0 0 0
#X border 0
#X rounded 0
#X shadow 0
#X done
#P user panel 26 483 596 278
#X brgb 192 194 210
#X frgb 0 0 0
#X border 0
#X rounded 0
#X shadow 0
#X done
#P connect 9 0 3 0
#P fasten 9 0 4 0 36 99 159 99
#P fasten 9 0 11 0 36 99 290 99
#P connect 27 0 25 0
#P fasten 27 0 26 0 341 545 540 545
#P connect 24 0 22 0
#P fasten 24 0 23 0 36 545 235 545
#P connect 18 0 16 0
#P fasten 18 0 17 0 341 256 540 256
#P connect 14 0 12 0
#P fasten 14 0 13 0 36 256 235 256
#P connect 10 0 9 0
#P fasten 8 0 9 2 182 72 88 72
#P fasten 7 0 9 1 140 66 62 66
#P connect 5 0 6 0
#P fasten 4 0 5 1 159 131 53 131
#P connect 3 0 5 0
#P window clipboard copycount 31
February 8, 2007
For the last month(s) I have been writing a documentation and reflexion on my own artistic practice required as part of the fulfillment of the fellowship. It is now finished and can be downloaded here. Due to images included in the text the download is a rather large one (72 Mb).
Update: Fixed broken link to pdf.
More updates: The text now has a ISBN number: ISBN 978-82-8013-066-2.
February 8, 2007
I was playing a record by Fennez in the living room today when my young son aged 5 1/2 commented that it sounded like a dishwasher. It sounded more lik an observation than an expression of like/dislike. Anyway I ended up talking with him about about the art of noise. How do you explain futurism to a 5 1/2 year old boy?
February 15, 2007
I am currently in Vietnam doing research for a new Verdensteatret production. I will be back in Bergen at the end of next week.
February 25, 2007
Bergen National Academy of the Arts’first Research Fellow Trond Lossius completes his project:
Sound Installations and Other Cross-Diciplinary Projects
Viva Voce with the Research Fellow and the Appraisal Committee – part of the final assessment
Time: Friday 9 March at 1.300 pm – 4pm
Venue: Bergen National Academy of the Arts Dept of Fine Art C. Sundts gate 53 fifth floor (the door will be open from 1pm)
Trond Lossius has been a research fellow at Dept of Fine Art at KHiB for three years. He works with sound- and installation art as well as other cross-disciplinary projects. A sculptural exploration of the connections between sound space and time is central in his work. Sound is used both to explore and to widen space but can at the same time indicate other places and times so that various contemporary layers of space and time come into being. The Programme for Research Fellowships in the Arts has funded his studies.
The final appraisal is based on the artistic result documentation of the process and Lossius’comments on the process and its outcome and the Viva Voce. Lossius’most recent artistic project was exhibited at Hordaland Kunstsenter 3-12 November 2006.000 Lossius is the first Research Fellow in Bergen who has completed his Fellowship.
The Programme for Research Fellowships in the Arts is a national cross-disciplinary programme for the art educations and a parallel to academic PhD programmes. The Fellowship Programme has a three-year duration.
The members of the Evaluation Committee are:
Sally Jane Norman (chair) (CultureLab Newcastle University)
Brandon LaBelle (sound artist and writer London Consortium Birbeck College)
Perto Rastas (Museet för Nutidskonst Kiasma Helsinki)
The Viva Voce follows a fixed procedure:
– The Candidate gives an account of his project.
– The Appraisal Committee questions the Candidate.
– A brief Q& A session follows open to questions from the floor.
The Viva Voce is held in English.
Welcome!
More information about the the Programme for Research Fellowships in the Arts is available here.
February 25, 2007
In conjunction with the Danish festival for soundart and contemporary music SPOR 2007 artists and composers from all musical environments are invited to contribute digital audiovisual works to the independent festival event
Infinite Composing.
Infinite Composing focuses on the issue of the listener as producer or more specifically: how the listeners participating appropriation of certain kinds of digital sound and music can be useful when coming upon newly composed music. We therefore call on all interested to contribute works that contain open interactive and possibly infinite elements set into perspective conventional practices of creating and performing music and provide ideas on how to challenge the traditional division of functions as composer performer and listener. Furthermore we call on artists and composers from all environments to challenge their own ways of creating music keeping the same objectives in mind.
SPOR 2007 will be held from 10 to 13 May 2007.000 Throughout the period contributions toInfinite Composing will be displayed in Ridehuset Aahus (Denmark) on stationary computers with headsets. Therefore the submitted pieces of work must be created so that they can be viewed on a common computer screen listened to in stereo through headsets and function with Macintosh computers in QuickTime max/MSP Flash Firefox or Safari.
Preceding the festival a jury of internationally acknowledged professionals and artists (Atau Tanaka Natasha Barrett Elena Ungeheuer Morten Sndergaard among others) will each select one contribution and argue why they find the selected one particularly interesting. Selected pieces will be displayed on a widescreen during the festival and the audience will be able to read the individual evaluations. On the last day of the festival the favourite piece of work of the audience will be presented and given a special reward. All contributions to Infinite Composing will be located permanently on an independent web site after the festival as far as it is technically possible.
SPOR 2007 is curated by Anna Berit Asp Christensen og Anne Marqvardsen. The overall objective of SPOR 2007 is to examine identities of composers and artists and to encourage new ways of perceiving the traditional performance situation. Further information on the SPOR Festival and Infinite Composing is available on the festival sitewww.spor-festival.dk. You may also contact the coordinator of the event Marie Bchert at infinitecomposing@yahoo.dk
Works for Infinite Composing should be submitted on a CD-ROM or DVD to SPOR Festival att. Marie Bchert Shetlandsgade 3 4th floor DK-2300 Copenhagen S Denmark. Deadline for submission is Monday 2 April 2007.
Please note that works must be compatible with Macintosh computers in either QuickTime max/MSP Flash Firefox or Safari.
Download as pdf
February 27, 2007
Aims and Scope
Journal of Music Technology and Education is the only journal specifically dedicated to the educational aspects of music technology and the technological aspects of music. Peer-reviewed with an international editorial board JMTE aims to draw its contributions from a broad community of educators researchers and practitioners who are working closely with new technologies in the fields of music education and music technology education.
We regard such education in its widest sense with no bias towards any particular genre. Readership will therefore be wide and varied including those not only working within primary secondary and higher education but also researchers school teachers student teachers and other practitioners and professionals who wish to stay updated with the most recent issues
and developments surrounding the inter-relationship between music technologies and teaching and learning.
Editor: David Collins Doncaster College
Submission Details
The editorial team are always open to receiving submissions – there are no specific cut-off dates. We aim to have a turn-around time from submission to response from the editor following peer-review within approximately eight weeks. Articles should not normally exceed 6000 words in length should include full references bibliography and key-words and should also include an abstract of no more than 150 words. Illustrated articles are welcomed. Short reports may be submitted on related issues as well as conference reports book and pedagogically contextualized software/hardware reviews.
For more info please contact the editor David Collins david.collins@NOSPAMdon.ac.uk
We would like to invite contributions in any aspect of the field such as:
Computer-mediated music composition in education
Music performance technologies
Audiation & aural awareness training systems
Music technology education & industrial practice
Computational musicology in Further and
Higher Education
Musical creativity and technology
Pedagogical aspects of electroacoustic
composition
Classroom engagement with new technologies
Assessing student music technology practice
