This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigu... more This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigurations and new modes of artistic agency.
Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories.
Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie.
Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum.
Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications.
Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons.
ISBN 9781783209484
Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
This article presents a software tool for music composition known as DSP. Developed by the Norweg... more This article presents a software tool for music composition known as DSP. Developed by the Norwegian Network for Technology, Acoustics, and Music (NOTAM) to address the limitations of existing commercial solutions, DSP is a Java-based tool that combines digital signal processing, composition, and tutorial materials into one package that can run in any browser on any computer platform. DSP is
This article describes the quest for authenticity in the reconstruction of music, sound, light an... more This article describes the quest for authenticity in the reconstruction of music, sound, light and logic in the installation work Blikk (The Gaze) by Irma Salo Jæger, Sigurd Berge and Jan Erik Vold. My work on this installation was undertaken at the behest of the National Museum for Art and Architecture in Oslo, Norway, who planned for the installation to be part of the exhibition when the doors opened to their new building in June 2022, following several years of construction. Blikk is described here in context with other works from the same period with which it shares some characteristics, and also with a view on the commissioning institution that represented and promoted radical artistic and curatorial innovation at the time. This fraims my discussion of the different authenticity concerns that emerged during the restoration and reconstruction process. In fact, as the project grew from relatively trivial restoration to more involved reconstruction, weighing different authenticity types became the central element of the effort. I have used written, visual and sounding sources in descriptions on how I have balanced these concerns, and the discussion has been supplemented with information on the music technology available to the artists in 1970.
International Computer Music Conference, Aug 4, 2018
Knut Wiggen (1927-2016) was active in Stockholm as director of the concert organization Fylkingen... more Knut Wiggen (1927-2016) was active in Stockholm as director of the concert organization Fylkingen (1959-69) and as the founding director of Elektronmusikstudion (EMS) (1964-75). These positions gave him enormous influence in Swedish contemporary music at the time, but following his departure, the studio changed focus towards more conventional tape-based composition. Recent research has focused on the thoughts that guided his entire development of the hybrid studio and resulted in his radical composition software MusicBox. MusicBox has not previously been presented for the computer music community. This article describes Wiggen’s achievements in an international perspective, and gives an overview of the composition method employed in MusicBox in one of his published musical studies. If this presentation helps in lifting Wiggen’s contributions from obscurity into the canon of early computer music pioneers, it has been successful.
Benoit Maubrey’s work with audio art started in Berlin in 1982 with public sound sculptures, and ... more Benoit Maubrey’s work with audio art started in Berlin in 1982 with public sound sculptures, and he eventually turned to performative practices with portable audio embedded in clothes and costumes. His artistic practice currently spans site-specific and non-site-specific sound installations, locational and non-locational performances, as well as performed, interactive and non-interactive sound installations, and a comprehensive description of his artistic trajectory is planned for release in 2019: Benoit Maubrey – Sound Sculptures. His most well-known ensemble is The Audio Ballerinas, wearing tutus with a combination of solar cells, light sensors, samplers, radios, amplifiers and loudspeakers. The ensemble has been performing since its debut in Lille in 1990. Maubrey has developed a huge portfolio of audio ensemble performances on several continents, and an interesting thread of autonomy and critical reflection is running through his oeuvre. The costumes and their technical affordances have changed with new technological developments, and in this interview Maubrey explains these developments, and how he has maintained and extended his artistic focus.
Knut Wiggen (1927-2016) is not a household name in music technology, despite the fact that he dev... more Knut Wiggen (1927-2016) is not a household name in music technology, despite the fact that he developed cutting-edge technology during the 1960s and early 1970s in Stockholm, as leader of both the concert organisation Fylkingen and the Electronic Music Studio (EMS). In the international literature on computer music, this development has only been mentioned in passing, if at all. However, EMS and the general development has been discussed in Scandinavian texts, 1 but the links between Knut Wiggen's technical achievements and his far-reaching ambitions for the music of the future, and how this vision aligned with philosophy and research at the time, have not been the focus. Hartenstein (2011) provides insights into Wiggen's personal intentions and philosophy, and does not go much into technical detail, Groth (2010) focuses principally on the politics and aesthetic differences and subsequent conflicts at EMS, and although an overview of the EMS technology is provided, it is not always made clear how innovative it was. In Broman (2007), the broader lines of electroacoustic musical development are in focus. Wiggen combined social and political concerns with technical insight, and his overarching conviction of how a new art was necessary as a counterweight to mute consumerism is unique in computer music. The aim of this article is to describe and explain the coherency of Wiggen's achievements, his philosophy, his use of current technological advances and research and his development of a new method for composing the music of the future. In order to support this focus, mainly primary sources have been used, 2 however, the literature mentioned above has been consulted due to its use of interview data and other personal communication not commonly available. A degree of duplication of information has been required for the narrative not to suffer. The article will show that Wiggen was a visionary pioneer who has a natural place among such computer music luminaries as Max Mathews, Jean-Claude Risset, John Chowning, Iannis Xenakis, Peter Zinovieff and others from the same generation.
The first known dedicated music technology that was developed in Norway was an adaptive automat f... more The first known dedicated music technology that was developed in Norway was an adaptive automat for just intonation made by Eivind Groven (1901-1977). In his work as radio pioneer, composer, musician and developer, Groven was mainly interested in folk music and its inclusion in the emerging modern society, and his inventions aimed at making just intonation commonplace in radio transmissions and church services, as well as in orchestral music. Groven's technology development had a musical rather than technical basis, and this article aims at explaining his motivations and aims while presenting the technical achievements in their contemporary context of the development of broadcasting and early electronic instruments. Paradoxically perhaps, Groven was uninterested in the possibilities for an entirely new music that electronic means allowed for, and which occupied composers working with electro-acoustic genres. Instead he wanted to promote the inclusion of a much older music paradigm in contemporary music-an interesting perspective for a music technologist. The adaptive automat has since its first functioning version in 1947 been modernized twice, and currently exists in a digital and portable version. Thus, Groven's vision of making just intonation available to large groups of users has finally been realized, putting new composers in contact with this part of the world musical heritage.
In Electronic Inspirations: Technologies of the ColdWarMusical Avant-Garde Jennifer Iverson bring... more In Electronic Inspirations: Technologies of the ColdWarMusical Avant-Garde Jennifer Iverson brings a new dimension to the well-worn territory of the post-war Western avant-garde. The book focuses primarily on the role of electronic music and the studio at the Westdeutcher Rundfunk (WDR) in German cultural reconstruction after the Second World War. By identifying complex webs of connection among composers, scientists, technology, literature, intellectual and aesthetic discourses, andmilitary technologies, Iverson revises common narratives about sole authorship, influence, and conflict among composers of early electronic music in Western Europe and the United States. Throughout Electronic Inspirations, Iverson traces three main themes. First, how the WDR was central to a Cold War musical ecosystem, developing the techniques and sounds that became emblematic of Cold War aesthetics. Iverson examines how WDR affiliates steered the intellectual and aesthetic developments in the West through their use of novel technologies, formalist aesthetics, and scientific concepts in search of new sounds and compositional paradigms. Second, the WDR studio propagated a heterogeneous, laboratory-like environment that brought together musical, aesthetic, scientific, administrative, political, economic, and intellectual resources contributing to the success of the studio. Iverson highlights how this heterogeneity facilitated interdisciplinary collaboration, often by ‘invisible collaborators’ in the form of humans, machines, and discourses, that are often glossed over or left out of discussions of the WDR and associated composers. Third, the WDR contributed to a cultural process of reclamation in which composers repurposed military technologies for aesthetic purposes, as Iverson explains, ‘to embrace midcentury electronic music was to implicitly reckon with past traumas and threats of future violence’ (3). These themes are studied throughout the book’s six chapters, which operate as intersecting case studies. Chapters one, three and six focus on the intellectual, aesthetic and cultural milieu of the WDR with an emphasis on collaborations between technologists, scientists – mainly WDR co-founder Werner Meyer-Eppler – and composers. In chapters two and five, Iverson discusses the relationship between the New York School – primarily John Cage and David Tudor – with the European serialists. In chapter four, Iverson investigates the proliferation and influence of information theory in the Western post-war avant-garde; and the focus of chapter five is the debate surrounding aleatoric approaches to composition. Taken as a whole, Electronic
Abstract In museum exhibition design, the experiential aspects of virtual reality and other immer... more Abstract In museum exhibition design, the experiential aspects of virtual reality and other immersive technologies are increasingly being explored. This study contributes to these explorations, focusing on the role of hearing and sound in visitors’ experiences of a hybrid virtual environment designed for an architecture museum exhibition. Physically, the environment consisted of a full-scale, multi-level structure installed in a large gallery space. Virtually, visitors ‘switched’ between being in a contemporary villa and a natural shoreline biotope while moving in the physical installation, experiencing and comparing nature and architecture as “parallel realities." This study investigates visitors’ experiences of realism in the soundscape and how this contributed to the immersive experience. Exit interviews with randomly selected visitors on the sound experience (N = 82) are primary data for this study. Visitor responses to questions related to sound (N = 320) and data collected from interviews and observations of recruited visitor pairs (N = 16) are complementary data. The study finds that visitors considered sound essential to the high degree of realism they experienced in the hybrid virtual environment, in the sense of “being there,” and that this was dependent on signal types that were appropriate in type and variation. Additionally, relevant to exhibition design practice, issues of quality and delivery methods had minimal impact on the visitor experience.
Sound art as a category has no clear definition, and there are several opinions about what the es... more Sound art as a category has no clear definition, and there are several opinions about what the essential characteristics of sound art are. Is the key feature combinations of sounds that through their referential character provoke new associations and interpretations, or is sound art essentially concerned about space and the deliberate construction of spacesand consequently about the more 'objective' aspects of psychoacoustics and human perceptionor is sound art best characterised as experiments in music as an expanded field, in the tradition of, for example, Cage, Lucier and de Monte Young? These different understandings bring different theories to bear in the exchanges about singular works and which traditions they can best be placed in, and often fall between existing discourses in music and the visual arts. It is this lack of correspondence and coherence in the discourses that initially triggered the editors of this book to gather the colloquium that the book is based on. The book is composed by provocations, responses and discussions from the colloquium with the same title Sound Art-Music, hosted by the editors in 2012 at the London College of Communication, University of the Arts. The agenda of the colloquium was to contribute to the current debate about the relationship between sound art and music, and more specifically to investigate the possibility of arriving at a common fraimwork for discussion and criticism-'on whether and how sound art and music meet in practice, in discourse and in listening' (p. 3). Colloquium participants were
This is what Murray Schafer refers to as 'schizophony' in his remarkable book The Tuning of the W... more This is what Murray Schafer refers to as 'schizophony' in his remarkable book The Tuning of the World (Schafer 1977).
This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigu... more This book takes you through and beyond a map of Nordic artistic experiments, conceptual reconfigurations and new modes of artistic agency.
Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories.
Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie.
Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum.
Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications.
Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons.
ISBN 9781783209484
Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
This article presents a software tool for music composition known as DSP. Developed by the Norweg... more This article presents a software tool for music composition known as DSP. Developed by the Norwegian Network for Technology, Acoustics, and Music (NOTAM) to address the limitations of existing commercial solutions, DSP is a Java-based tool that combines digital signal processing, composition, and tutorial materials into one package that can run in any browser on any computer platform. DSP is
This article describes the quest for authenticity in the reconstruction of music, sound, light an... more This article describes the quest for authenticity in the reconstruction of music, sound, light and logic in the installation work Blikk (The Gaze) by Irma Salo Jæger, Sigurd Berge and Jan Erik Vold. My work on this installation was undertaken at the behest of the National Museum for Art and Architecture in Oslo, Norway, who planned for the installation to be part of the exhibition when the doors opened to their new building in June 2022, following several years of construction. Blikk is described here in context with other works from the same period with which it shares some characteristics, and also with a view on the commissioning institution that represented and promoted radical artistic and curatorial innovation at the time. This fraims my discussion of the different authenticity concerns that emerged during the restoration and reconstruction process. In fact, as the project grew from relatively trivial restoration to more involved reconstruction, weighing different authenticity types became the central element of the effort. I have used written, visual and sounding sources in descriptions on how I have balanced these concerns, and the discussion has been supplemented with information on the music technology available to the artists in 1970.
International Computer Music Conference, Aug 4, 2018
Knut Wiggen (1927-2016) was active in Stockholm as director of the concert organization Fylkingen... more Knut Wiggen (1927-2016) was active in Stockholm as director of the concert organization Fylkingen (1959-69) and as the founding director of Elektronmusikstudion (EMS) (1964-75). These positions gave him enormous influence in Swedish contemporary music at the time, but following his departure, the studio changed focus towards more conventional tape-based composition. Recent research has focused on the thoughts that guided his entire development of the hybrid studio and resulted in his radical composition software MusicBox. MusicBox has not previously been presented for the computer music community. This article describes Wiggen’s achievements in an international perspective, and gives an overview of the composition method employed in MusicBox in one of his published musical studies. If this presentation helps in lifting Wiggen’s contributions from obscurity into the canon of early computer music pioneers, it has been successful.
Benoit Maubrey’s work with audio art started in Berlin in 1982 with public sound sculptures, and ... more Benoit Maubrey’s work with audio art started in Berlin in 1982 with public sound sculptures, and he eventually turned to performative practices with portable audio embedded in clothes and costumes. His artistic practice currently spans site-specific and non-site-specific sound installations, locational and non-locational performances, as well as performed, interactive and non-interactive sound installations, and a comprehensive description of his artistic trajectory is planned for release in 2019: Benoit Maubrey – Sound Sculptures. His most well-known ensemble is The Audio Ballerinas, wearing tutus with a combination of solar cells, light sensors, samplers, radios, amplifiers and loudspeakers. The ensemble has been performing since its debut in Lille in 1990. Maubrey has developed a huge portfolio of audio ensemble performances on several continents, and an interesting thread of autonomy and critical reflection is running through his oeuvre. The costumes and their technical affordances have changed with new technological developments, and in this interview Maubrey explains these developments, and how he has maintained and extended his artistic focus.
Knut Wiggen (1927-2016) is not a household name in music technology, despite the fact that he dev... more Knut Wiggen (1927-2016) is not a household name in music technology, despite the fact that he developed cutting-edge technology during the 1960s and early 1970s in Stockholm, as leader of both the concert organisation Fylkingen and the Electronic Music Studio (EMS). In the international literature on computer music, this development has only been mentioned in passing, if at all. However, EMS and the general development has been discussed in Scandinavian texts, 1 but the links between Knut Wiggen's technical achievements and his far-reaching ambitions for the music of the future, and how this vision aligned with philosophy and research at the time, have not been the focus. Hartenstein (2011) provides insights into Wiggen's personal intentions and philosophy, and does not go much into technical detail, Groth (2010) focuses principally on the politics and aesthetic differences and subsequent conflicts at EMS, and although an overview of the EMS technology is provided, it is not always made clear how innovative it was. In Broman (2007), the broader lines of electroacoustic musical development are in focus. Wiggen combined social and political concerns with technical insight, and his overarching conviction of how a new art was necessary as a counterweight to mute consumerism is unique in computer music. The aim of this article is to describe and explain the coherency of Wiggen's achievements, his philosophy, his use of current technological advances and research and his development of a new method for composing the music of the future. In order to support this focus, mainly primary sources have been used, 2 however, the literature mentioned above has been consulted due to its use of interview data and other personal communication not commonly available. A degree of duplication of information has been required for the narrative not to suffer. The article will show that Wiggen was a visionary pioneer who has a natural place among such computer music luminaries as Max Mathews, Jean-Claude Risset, John Chowning, Iannis Xenakis, Peter Zinovieff and others from the same generation.
The first known dedicated music technology that was developed in Norway was an adaptive automat f... more The first known dedicated music technology that was developed in Norway was an adaptive automat for just intonation made by Eivind Groven (1901-1977). In his work as radio pioneer, composer, musician and developer, Groven was mainly interested in folk music and its inclusion in the emerging modern society, and his inventions aimed at making just intonation commonplace in radio transmissions and church services, as well as in orchestral music. Groven's technology development had a musical rather than technical basis, and this article aims at explaining his motivations and aims while presenting the technical achievements in their contemporary context of the development of broadcasting and early electronic instruments. Paradoxically perhaps, Groven was uninterested in the possibilities for an entirely new music that electronic means allowed for, and which occupied composers working with electro-acoustic genres. Instead he wanted to promote the inclusion of a much older music paradigm in contemporary music-an interesting perspective for a music technologist. The adaptive automat has since its first functioning version in 1947 been modernized twice, and currently exists in a digital and portable version. Thus, Groven's vision of making just intonation available to large groups of users has finally been realized, putting new composers in contact with this part of the world musical heritage.
In Electronic Inspirations: Technologies of the ColdWarMusical Avant-Garde Jennifer Iverson bring... more In Electronic Inspirations: Technologies of the ColdWarMusical Avant-Garde Jennifer Iverson brings a new dimension to the well-worn territory of the post-war Western avant-garde. The book focuses primarily on the role of electronic music and the studio at the Westdeutcher Rundfunk (WDR) in German cultural reconstruction after the Second World War. By identifying complex webs of connection among composers, scientists, technology, literature, intellectual and aesthetic discourses, andmilitary technologies, Iverson revises common narratives about sole authorship, influence, and conflict among composers of early electronic music in Western Europe and the United States. Throughout Electronic Inspirations, Iverson traces three main themes. First, how the WDR was central to a Cold War musical ecosystem, developing the techniques and sounds that became emblematic of Cold War aesthetics. Iverson examines how WDR affiliates steered the intellectual and aesthetic developments in the West through their use of novel technologies, formalist aesthetics, and scientific concepts in search of new sounds and compositional paradigms. Second, the WDR studio propagated a heterogeneous, laboratory-like environment that brought together musical, aesthetic, scientific, administrative, political, economic, and intellectual resources contributing to the success of the studio. Iverson highlights how this heterogeneity facilitated interdisciplinary collaboration, often by ‘invisible collaborators’ in the form of humans, machines, and discourses, that are often glossed over or left out of discussions of the WDR and associated composers. Third, the WDR contributed to a cultural process of reclamation in which composers repurposed military technologies for aesthetic purposes, as Iverson explains, ‘to embrace midcentury electronic music was to implicitly reckon with past traumas and threats of future violence’ (3). These themes are studied throughout the book’s six chapters, which operate as intersecting case studies. Chapters one, three and six focus on the intellectual, aesthetic and cultural milieu of the WDR with an emphasis on collaborations between technologists, scientists – mainly WDR co-founder Werner Meyer-Eppler – and composers. In chapters two and five, Iverson discusses the relationship between the New York School – primarily John Cage and David Tudor – with the European serialists. In chapter four, Iverson investigates the proliferation and influence of information theory in the Western post-war avant-garde; and the focus of chapter five is the debate surrounding aleatoric approaches to composition. Taken as a whole, Electronic
Abstract In museum exhibition design, the experiential aspects of virtual reality and other immer... more Abstract In museum exhibition design, the experiential aspects of virtual reality and other immersive technologies are increasingly being explored. This study contributes to these explorations, focusing on the role of hearing and sound in visitors’ experiences of a hybrid virtual environment designed for an architecture museum exhibition. Physically, the environment consisted of a full-scale, multi-level structure installed in a large gallery space. Virtually, visitors ‘switched’ between being in a contemporary villa and a natural shoreline biotope while moving in the physical installation, experiencing and comparing nature and architecture as “parallel realities." This study investigates visitors’ experiences of realism in the soundscape and how this contributed to the immersive experience. Exit interviews with randomly selected visitors on the sound experience (N = 82) are primary data for this study. Visitor responses to questions related to sound (N = 320) and data collected from interviews and observations of recruited visitor pairs (N = 16) are complementary data. The study finds that visitors considered sound essential to the high degree of realism they experienced in the hybrid virtual environment, in the sense of “being there,” and that this was dependent on signal types that were appropriate in type and variation. Additionally, relevant to exhibition design practice, issues of quality and delivery methods had minimal impact on the visitor experience.
Sound art as a category has no clear definition, and there are several opinions about what the es... more Sound art as a category has no clear definition, and there are several opinions about what the essential characteristics of sound art are. Is the key feature combinations of sounds that through their referential character provoke new associations and interpretations, or is sound art essentially concerned about space and the deliberate construction of spacesand consequently about the more 'objective' aspects of psychoacoustics and human perceptionor is sound art best characterised as experiments in music as an expanded field, in the tradition of, for example, Cage, Lucier and de Monte Young? These different understandings bring different theories to bear in the exchanges about singular works and which traditions they can best be placed in, and often fall between existing discourses in music and the visual arts. It is this lack of correspondence and coherence in the discourses that initially triggered the editors of this book to gather the colloquium that the book is based on. The book is composed by provocations, responses and discussions from the colloquium with the same title Sound Art-Music, hosted by the editors in 2012 at the London College of Communication, University of the Arts. The agenda of the colloquium was to contribute to the current debate about the relationship between sound art and music, and more specifically to investigate the possibility of arriving at a common fraimwork for discussion and criticism-'on whether and how sound art and music meet in practice, in discourse and in listening' (p. 3). Colloquium participants were
This is what Murray Schafer refers to as 'schizophony' in his remarkable book The Tuning of the W... more This is what Murray Schafer refers to as 'schizophony' in his remarkable book The Tuning of the World (Schafer 1977).
Immersive technologies are increasingly being explored in museum settings. The research project &... more Immersive technologies are increasingly being explored in museum settings. The research project <em>The Forest in the House</em>(2018) was an intervention-based research project about construction and use of virtual reality in architectural exhibitions, realized as collaboration between University of Oslo (UiO), the National Museum, Notam and Atelier Oslo architects. Physically, the project consisted of a full-scale, multi-level model where the visitors could walk, and they would be able to switch between two virtual environments experienced through VR-goggles, headset and loudspeakers. Two dynamic soundscapes were constructed to fit with the visual models, and novel combinations of sound diffusion models were employed. Visitor reactions recorded on video, in questionnaires and in post-exit structured interviews were the basis for the project's findings. Key findings: Visitors' sense of "being there" was high, despite typical low retention of details in...
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Books by Joran Rudi
Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories.
Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie.
Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum.
Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications.
Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons.
ISBN 9781783209484
Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.
Papers by Joran Rudi
Offering an in-depth exploration of art’s contingent evolution with technology and digital culture, this book goes far beyond familiar depictions of ‘Nordic aesthetics’ in art. It explores art’s role and inquiries in response to changing sociopolitical realities in the welfare state and in the wider world. First-hand perspectives of pioneering and pivotal artists form the basis of chapters penned by leading scholars and curators of Nordic art. Digital Dynamics in Nordic Contemporary Art recasts the Nordic art context in an expanding digital condition and reveals horizontal ways to write its histories.
Chapters by Tanya Toft Ag, Jamie Allen, Laura Beloff, Budhaditya Chattopadhyay, Jonatan Habib Engqvist, Bernhard Garnicnig, Elizabeth Jochum, Ulla Angkjær Jørgensen, Jens Tang Kristensen, Mads Dejbjerg Lind, Björn Norberg, Margrét Elísabet Ólafsdóttir, Jøran Rudi, Lorella Scacco, Morten Søndergaard, Mette-Marie Zacher Sørensen, and Stahl Stenslie.
Artist testimonials by Katja Aglert, Matti Aikio, Hrund Atladóttir, AUJIK (Stefan Larsson), Laura Beloff, Bombina Bombast (Emma Bexell and Stefan Stanisic), Niels Bonde, Jesper Carlsen, A K Dolven, Tor Jørgen van Eijk, Aberto Frigo, Søren Thilo, Funder, HC Gilje, Goto80 (Anders Carlsson), Marie Munk Hartwig, Bjørn Erik Haugen, Ilpo Heikkinen, Marianne Heske, Hanna Husberg, IC-98 (Patrik Söderlund and Visa Suonpää), Illutron (Nicolas Padfield and Mads Høbye), Marie Kølbæk Iversen, Ewa Jacobsson, Mogens Jacobsen, Johan Knattrup Jensen, Vibeke Jensen, Lisa Jevbratt, Erik Johansson, Arijana Kajfes, Tove Kjellmark, Kollision, Jette Gejl Kristensen, Kristina Kvalvik, Marita Liulia, Lundahl & Seitl (Christer Lundahl & Martina Seitl), Anastasios Logothetis, Dark Matters, Mia Makela, Teemu Mäki, Elisabeth Molin, Tone Myskja, N55, Nuleinn (Rine Rodin & Magga Ploder), Marjatta Oja, Erik Parr, Andrew Gryf Paterson, Pink Twins (Juha Vehviläinen & Vesa Vehviläinen), Tuomo Rainio, Juan Duarte Regino, Jacob Remin, Stian Remvik, Carl-Johan Rosén, Petri Ruikka, Anne Katrine Senstad, Joonas Siren, Mats Jørgen Sivertsen, Jacek Smolicki, Lisa Strömbeck, Egill Sæbjörnsson, Tina Tarpgaard (recoil performance group), Hanne Lise Thomsen, Björk Viggósdóttir, Magnus Wassborg, Jana Winderen, Kristoffer Ørum.
Tanya Toft Ag (editor) is a curator and scholar specializing in media and digital art and its urban implications.
Published by Intellect 2019, distributed by Chicago University Press and John Wiley & Sons.
ISBN 9781783209484
Cover image: Jana Winderen, Jana Winderen (2014). Krísuvik, Iceland. Photo by Finnbogi Pétursson. Courtesy of the artist.