I contributed to last year’s Electronic Music Network conference with the article Soundscapes for experiencing architecture in virtual reality – elements and considerations from the project The forest in the house, and to the latest issue of Organised Sound with a review of the book Sound arts now, edited by Cathy Lane and Angus Carlyle. The issue also contained a review of Miller Puckette’s and Kerry Hagan’s book Between the Tracks where I have a chapter.
On Nov. 13, Volume 1 of Electronic Art in Norway will be launched in Trondheim, at Litteraturhuset. The book is the first of two, and consists mainly of approx. 100 artist/work pages, where the artists themselves have contributed presentation material. The book has been edited by Zane Cerpina, Ståle Stenslie and Jøran Rudi, and is pushed by Teks Publishing.
Christer Falck has started crowdfunding for a digital reprint of the LP Things Take Time, music that John Persen and I made together in teh early 1980s. From earlier, Falck has reprinted records by Kjøtt and Montasje, where I also played a role, and lots of other records from bands that he rescues from disappearance from our cultural memory.
If you are not among the lucky that have the original vinyl version of Things Take Time, you can order the reprint here, and feel good about contributing to preservation of the electronic music heritage.
This fall, as in 2020, I am teaching a course about electronic music at the Norwegian university for technology and Science. We’ll work our way through historical works and more recent developments in technology-based art, through listening, reading and analysis.
Ulf Holbrook and I have received a research grant for the project Music technology and changes in artistic practices. The project is part of the Norwegian Cultural Council’s framework Artistic practices in music (in Norwegian only), and the duration is approx. 1 1/2 year. The result research report will be published in a book together with other reports from the same program, and in addition, we will write several other articles and conference presentations.
We will make a number of interviews, develop a web-based survey in order to get larger data, make video recordings that will be analyzed, plus include more traditional work analyses. In sum, we hope to be able to describe the post-acousmatic music seen from different angles, and to strengthen the understanding of modern acoustic art.