Bergen Center for Electronic Arts
“Lyden i mellomrommet” (The sound in-between) is the master thesis by Line Horneland, completed at Stord/Haugesund University College in the spring 2016. The text is a critical reflection on various aspects of artistic development relating to the interactive vocal installation “Lyden i mellomrommet”. The installation was open to public at Sola ruinkirke January 2016.
Main supervisor has been Magne Ingolv Espeland, and Trond Lossius at BEK has been assistant supervisor.
Last ned teksten her (111 Mb)
Denne teksten er en kritisk refleksjon over ulike aspekter ved et kunstnerisk utviklingsarbeid, den interaktive vokalinstallasjonen ”Lyden i mellomrommet”. Installasjonen var åpen for publikum i Sola ruinkirke 14.-17. januar 2016. Prosjektet bygger på en produksjon der vokale lydlandskap, spatialitet og lytteopplevelse sammen danner en helhet, der lytteren utløser vokale komposisjoner ved å trø på sensorer, og musikken høres gjennom høyttalere. Lytteren blir en musikalsk medskaper og spiller en avgjørende rolle for uttrykk og opplevelse. Konseptuelt tematiserer prosjektet rom og lyd i en kunstnerisk kontekst, som erfaringssted for en lytters prerefleksive opplevelser. ’Mellomrommet’ utgjør en sentral metafor, og gjennom refleksjonsbilder ser jeg på det som grunntone, konsept, prosess, og resultat, samt erfaring og læring. Til grunn for teksten ligger følgende problemstilling: Hvordan kan prosessene i den kunstneriske produksjonen ”Lyden i mellomrommet” belyses, der loop som kompositorisk virkemiddel, spatialitet og interaksjonsdesign søker å gi rom for lytteopplevelsens ’sensuous knowledge’?
Jeg plasserer prosjektet mitt innen rammen av ’kunstnerisk utviklingsarbeid’ eller ’artistic research’ (Borgdorff, 2009). ’Sensuous knowledge’ er forbundet med lytterens opplevelse, og Kjørup (2006) er referansen min i denne konteksten. Et fenomenologisk perspektiv gjør seg gjeldende gjennom teksten. I gjennomgangen av komposisjonsprosessen har Kruse (2011) vært en sentral referanse, ikke minst på grunn av det tverrkunstneriske fokusets relevans for mine tanker rundt ’mellomrommet’. Når det gjelder interaksjonsdesign refererer jeg til Franinović og Serafin (2013). Metodisk beveger jeg meg mellom metode i tradisjonell forstand, metode i kunstnerisk utviklingsarbeid, og refleksjon over metode og kunstneriske prosesser. Dokumentasjon har foregått ved prosjektlogg, foto, videoopptak og lydfiler. Komposisjonene er utviklet blant annet gjennom improvisasjon og looping av vokal i flere lag, samt redigering av lydfiler i Garageband. Interaksjonsdesign ved bruk av Max software og sensorer, samt den konseptuelle utforming av kirkerommet inngår i de kunstneriske metodene. Arbeidet med prosjektet er mangefasettert, og har vært en vandring frem og tilbake mellom ulike felt og måter å jobbe på. Min kreative prosess i dette prosjektet har på mange måter vært en kunstnerisk mellomromstilværelse, noe jeg reflekterer over om det er rom for i andre sammenhenger, ikke minst pedagogisk.Time and place:
- Høgskolen Stord/Haugesund - 15/06/2016 to 15/07/2016
A one afternoon workshop with filmmaker Gabriele Mariotti(IT) who will show the basics and everything there is to know about filming with a DSLR camera, 4k, Record sound and more
Friday 24th of June kl. 14:00
Bergen Senter for Elektronisk kunst
Garbriele Mariotti is a filmmaker that has done camerawork for videoclips and documentation of projects and exhibitions, such as the MU Artfoundation in Eindhoven
He is an expert on documentation of installations and video works.
Gabriel will show us the basics on the various ways to record art exhibitions, installations, in low light conditions and more handy tips and tricks.
The course is free of charge.
Please send email to firstname.lastname@example.org if you want to joinTime and place:
- BEK - 24/06/2016 14:00
On thursday 23. June, “Playful Interventions” will show sound installations & live performance revolving
around playful use of sound at Østre Hus for Lydkunst. Produced by BEK.
On the 23. of June, “Playful Interventions” will show both sound installation and live performances revolving around sound at Østre Hus for Lydkunst.
ØSTRE HUS FOR LYDKUNST – BERGEN
An evening with sound installations & live performance revolving
around playful use of sound at Østre Hus for Lydkunst.
- Marieke Verbiesen
-Njål Leinan Clementsen
LIVE from 21:00
- Tijs Ham
-Njål Leinan Clementsen
FRA KL. 19:00
New soundinstallations by
Mattias Arvastsson, Marieke Verbiesen, & Njål Leinan Clementsen,
that revolve around playful use of sound.
Live Performance: Njål Clementsen
Njål Leinan Clementsen has been active in various bands, and makes soundinstallations. At Playful interventions he will do a combined installation / liveperformance centered around sound.
Live Performance: Tijs Ham
Tijs Hams performance ‘States’ investigates the balance between controlling or playing these processes and letting go. Allowing the complex structures to collapse into their own states of being. To let go of the steering wheel.
Videoworks: Gabriele Mariotti
Italian Gabriele Mariotti will document the evening and show some of his cinematic audiovisual works, short films & videoclips.
DJ: Helene Rickhard
DJ Helene Rickhard mixes vinyl records ranging everything from strange beats by artists
from the 80s, digitalo, neofunk and other heard or unheard of genre´s.
She regularly dj´s at Oslo´s “Club Cosmic”.
- Oestre Hus for LYdkunst - 23/06/2016 to 24/06/2016
I have left you the mountain presents ten new texts written by contemporary writers and thinkers on the architecture of displacement. These texts have been set to music and sung by some of the last remaining groups of Albanian iso-polyphonic singers, an art form now protected as “intangible cultural heritage” by UNESCO.
Pavilion sound design and programming by Peter Meanwell and Trond Lossius.
A living art form in step with generations of migration and transition, “singing migration” has been a core part of processing departure, longing, and return. The Albanian Pavilion is a space of collective listening, of “individuals in company.”
I Have Left You The Mountain initiates a conversation about the urbanism of displacement, projecting the Albanian case onto an international stage, with the express intention to transmit that dialogue and its speculations back into Albania.
Foto: Špela Volčič.
On the technical realisation
Performances have been captured as eight channel audio recordings with separate channels for each voice. Using eight speakers at the pavilion each of the voices is reproduced individually. Playback is controlled by a vinyl record player playing a special vinyl record containing timecode information. A Max patch interprets this information in order to control playback of the 8 channel tracks.
The Ministry of Culture of the Republic of Albania
Sound design and technical consultation
Luigi D’Oro & Arguzia S.r.l.
Arsenale (Room 5), Venice
- Venice Architecture Biennale 2016 - 25/05/2016 to 27/11/2016
ATK for Reaper v.1.0.0 beta 7 is now available for download. This version improves the graphical user interfaces for a number of decorders. It introduce monitoring of decoded sound levels for a number of decoders: Stereo, Quadrophonic, 5_0, Pantophonic 2D and Periphonic 3D. Additionally it displays the channel configuration for these plugins, making it easier to get channel routing right. The new Periphonic 3D decoder decodes to two rings of speakers.
The new version can be downloaded here.
These additions are the outcome of a short-term residency and workshop that Trond Lossius had at SCRIME in Bordeaux last week. The GUIs for the decoders are inspired by user interfaces from HOALibrary for Max. Peak level metering is based on code by Phil Burke.
As part of a short term residency at SCRIME Trond Lossius participates in a three day workshop on ambisonics and field recording. The workshop will be used to test out new ambisonic recording gear at SCRIME, field recordings and listening sessions, and offer an introduction to how to work with ambisonics in Reaper using the Ambisonic Toolkit.
SCRIME bridge science and the arts, and is organised in collaboration between Université de Bordeaux, CNRS, Bordeaux INP, Ministry of Culture and Communication , the City of Bordeaux and the Aquitaine County. It is administered by the Bordeaux Laboratory for Computer Science and affiliated with the Image and Sound team .
SCRIME activities range from scientific research to artistic creation , and includes education , dissemination of contemporary music and pedagogy in schools and universities . It is primarily a meeting place for researchers, artists and teachers, where everyone can exchange their knowledge, skills and expertise.
SCRIME is supported by the General Directorate of Artistic Creation of the Ministry of Culture and Communication.Program
- introduction to the AETA 4MinX and SoundDevice 788T recorders, and to the SoundField microphone
- field recording in the park of the Haut-Carré (near the University)
- studio recording sessions (SCRIME – Maison d’Elise ?)
- first listenings of the recorded material in the octophonic studio
Wednesday (Hemicyclia) – 18/05
- Calibration of the ambisonic setup (loudspeakers placement, software mappings)
- Introduction to Reaper
- Introduction to the Ambisonic Toolkit for Reaper
Thursday (Hemicyclia) – 19/05
- commented listening of the recordings
- spatialization with the ATK plugins
6.30 pm – opening of the SCRIME’s Arts/Sciences Cycles – open to public
- global presentation on ambisonics (Trond Lossius & Sylvain Marchand) – 1/2 hour
- listening of some selected materials recorded & spatialized during the workshop – 1/2 hour
7.30 pm – cocktailTime and place:
- SCRIME, Bordeaux - 17/05/2016 to 19/05/2016
Future DiverCities : artistic connection builds a creative union!
As a key partner of the international collaboration between 9 cultural organisations, BEK is proud to announce that “Future DiverCities” has received the official support of the European Commission as part of the Creative Europe Program.
The partnership, formed of organisations spread across 8 European countries, will spend the next four years exploring new models of artistic creation and distribution that promote cultural diversity.
What shall we do with the explosion of creativity brought to us by the new digital era? It has provided tools for interaction and collaboration, but at the same time global corporations have imposed their own rules and economy on the creative industries and public. The consequences? Vital elements of the cultural industry, such as diversity of artworks, fair remuneration for creators and visibility of independent or emerging artists, have suffered.
Future DiverCities will focus on these issues, working to build and develop new ways of thinking and experiencing culture as an alternative to mainstream, globalised attitudes.
The project will centre around the artistic domains of music, electronic art and urban culture.
Future DiverCities deeply believes in and aims to reinforce social bonds through the arts. We want to enable culture to reside in our pockets, on our screens, in our hearts, in front of our eyes and through our fingertips because culture is the most real and tangible part of Europe that connects and binds us.
Led by the UK not-for-profit organisation Superact, the nine partners have been working for years to bring this project to fruition. The organisations that will be sharing their collective experience and complementary skills comprise:
·Superact – Wellington, England
·1D Lab – Saint Etienne, Lyon & Paris, France
·Public Art Lab – Berlin, Germany
·CitiLab – Cornella, Spain
·Seconde Nature – Aix en Provence, France
·ANTI Festival – Kuopio, Finland
·BEK – Bergen, Norway
·Kontejner – Zagreb, Croatia
·Liepaja City Council – Latvia
Future DiverCities is proud to have been selected from 127 projects and see this as a major acknowledgement of the value of partners’ collective work to date.
For more information:
Anne Marthe Dyvi, artistic developer
- BEK - 18/05/2016 to 18/06/2016
Anne Marthe Dyvi and Gisle Frøysland have created new works for the exhibition «Maksimal informasjon per tidsenhet!» at Bergen Art Museum, KODE. A grand presentation of the artist Rolf Aamot. Dyvis Perseptuell cycle, video, have been created at BEK. BEK have also been engaged in conversations about the Rolf Aamot exhibition in general.
Rolf Aamot (b. 1934) is a different thinking artist and an ‘unknown’ pioneer in Norwegian electronic art that have left his footprints throughout our contemporary art and media history. The exhibition “Maximum information per unit of time,” explores Aamot oeuvre from debut exhibition at the mid-sixties to the present day. Especially his ‹‹bildende tonekunst›› have paved the way to our visual time.
- Aamot’s oeuvre tells a different story about contemporary Norwegian art, and also puts our own times in perspective. Decades ago he discussed issues that are more relevant than ever now in our hectic information society, says curator Frode Sandvik.
The exhibition presents a wide range of both early and new works by Rolf Aamot. In addition, the two newly produced works of artists Anne Marthe Dyvi and Gisle Frøysland who each in their own way commenting Aamot project.
Opening on KODE 2 Friday May 13th at 19 with refreshments and free entry to the exhibition.
The exhibition will be open all throughout the summer.
With a researcher’s attitude Aamot have for years adopted new technology in his artistic expression. The main project has always been his “bildende tonekunst”, whether it has been in terms of lighting and television art, film or electronic painting. Aamot explores light and color, with a particular interest for the art experience.
From the 1960s until the late 1980s he made television works shown on NRK in collaboration with composers Arne Nordheim, Bjørn Fongaard, Bjørg Lødøen and Olav Anton Thommessen. Aamot’s art has been shown in Scandinavia, Europe, USA and Asia.
Today Aamot is very concerned with the climate change and the planet’s vulnerability. The exhibition raises questions about art’s political potential and how we can understand art as research.
(Photo: from Perseptuell syklus, AM Dyvi, 2016)Time and place:
- Kode 2 - 13/05/2016 to 28/08/2016
CRiSAP Soirées are monthly events for CRiSAP’s members, PhD students and visiting researchers to share and discuss topics of sound art research. This April Ximena Alarcón and Trond Lossius will be leading the evening’s discussing on their current research.
CRiSAP is a research centre of the University of the Arts London based at London College of Communication, dedicated to the exploration of the rich complexities of sound as an artistic practice.
The centre’s aim is to extend the development of the emerging disciplinary field of sound arts and to encourage the broadening and deepening of the discursive context in which sound arts is practised.
Trond is a sound and installation artist visiting CRiSAP as part of a collaboration initiated between CRiSAP and the Bergen Centre for Electronic Arts – BEK, in Bergen. Derived from the experience with the project Sound Matters Framework, Ximena and Trond are envisioning possibilities for the creation of interfaces for relational listening accessing to archives of field recordings and speech, and to work creatively with them using the Jamoma platform. Trond will offer a talk to CRiSAP members about his work at the CRiSAP Soirée on April 26th, at 5pm.
Ximena Alarcón: CRiSAP Research Fellow, Dr Ximena Alarcón is an artist who engages in listening to migratory spaces, connecting this to individual and collective memories. Her practice involves deep listening, sonic improvisation, and the creation of online environments to expand our sense of belonging and place. She is interested in creating telematic performances, derived from listening in interstitial spaces, such as dreams, underground transportation, and the ‘in-between’ space in the context of migration.
This event is for CRiSAP Members and PhD students only, it is not a public event.Time and place:
- CRISAP, London College of Communication - 26/04/2016 17:00
Trond Lossius presents Ambisonic Toolkit for Reaper at BEAST: FEaST 2016. The presentation takes place in the Doom Room Saturday 30 April 11.00.
BEAST (Birmingham ElectroAcoustic Sound Theatre) is the concert sound system of the University of Birmingham’s Electroacoustic Music Studios. It was founded in 1982 by Jonty Harrison, and over the decades since its launch BEAST has become established as one of the leading systems for the presentation of electronic music in the world. BEAST: FEaST 2016 is a three day festival with concerts, installations and presentations.Time and place:
- BEAST, Birmingham University - 30/04/2016 11:00
BEK hjalp Guttorm Glomså med projeksjonsutstyr til sist helgs utstilling på Galleri Fisk. Mer om arbeidet her
For close to four months we have experienced database problems with the previous CMS of the Ambisonic Toolkit web site, leading to frequent error messages when accessing the web site. In the end we concluded that we might just as well make a fresh start.
There are probably still a few wrinkles to iron out, and we’d like to develop the tutorials further, but as a start the downloads are finally available again. If you notice any issues with this site, please add an issue at GitHub in order to let us know.
The exhibition “Make Default” at Hordaland Kunstsenter, is showcasing works by Marco Bruzzone, Jan Freuchen, Magnhild Øen Nordahl, Linn Pedersen, Phillip Raiford Johnson, Sigmund Skard and André Tehrani.
Magnhild Øen Nordahls video work, “How to Make a Utah Teapot” shows ceramist Anne-Lise Karlsen in action, making a Utah Teapot. The video is shot with equipment from BEK, and edited in our video studio.
The exhibition is up until the end of May.
At the FAQ festival i s-Hertogenbosch Marieke Verbiesen gives a presentation of sound and music projects produced at BEK.
FAQ festivalis a festival for electronic music.
Den syvende utgaven av FAQ Festival for elektronisk musikk vil finne sted den 7. til 10. april 2016 i ’s-Hertogenbosch, Nederland i selskap med W2 Poppodium, Playful Arts Festival og Willem II Factory.
FAQ Festival utforsker grenser hvor populær og avant-garde musikk utfordres, med fokus på elektronisk musikk.
Festivalen finner sted ved “De Toonzaal”; en liten, koselig konsertsal som holder til i en gammel synagoge i s-Hertogenbosch. Siden 200 har De Toonzaal vært en arena for klassisk og samtidsmusikk, jazz og world music.Time and place:
- De Toonzaal s-Hertogenbosch - 09/04/2016 to 09/04/2017
Time and place:
- De Toonzaal s-Hertogenbosch - 09/04/2016 to 09/04/2017
The exhibition at Kristiansand kunsthall by Sveinung Rudjord Unneland was partly developed at BEK. The sound installation integrated in a sculptural work.
Sveinung Rudjord Unneland is a young artist based in Bergen. His work is mainly in painting and sculpture, but for this exhibition a sound piece recorded and edited by the artist has been an important part of the project. Rudjord Unneland has a strong artistic language in colour, and this time sound have been added to his palette.
BEK have assisted him with integrating a soundscape from Syntagma Square in Athens into one of the sculptural elements in the space.
- Kristiansand kunsthall - 17/03/2016 to 01/05/2016
In Heimevernet Lisa Nøttseter examines what it means for something to be typically Norwegian, looking at history, sociology and culture. She is left with a satirical and distorted micro-Norway, following its own logic. BEK is co-producer.
The Norwegian romantic nationalism movement sought to build the nation on mutual history, language and identity. It’s a bigger challenge to establish an understanding of how we view ourselves in today’s postmodern society. This task has barely started. Heimevernet looks closer at the multitude of understandings of a national self. Should we accept the national identity as being fluid and flexible? Is it possible to for us to bridge the gap between “us” and them” by acknowledging that there are countless perceptions of what it means to be Norwegian?
It is through others that we see ourselves, whether they are Syrian refugees or Romani beggars. Some struggle to accept this view and refuse to admit to having a limited understanding of themselves. Because the world is ultimately a just place. We are better off because we simply are better. Successful, grateful, and privileged, we defend our brilliant systems and sovereign oil wealth. Welcome to a night of authentic Norwegian cosiness and well-being.
Kunstnerisk leder: Lisa Nøttseter | Scenografi og kostyme: Silje Sandodden Kise | Utøvere: Marianne Kjærsund, Maja Roel og Emilie Dahlén | Lysdesign: Silje Grimstad | Lyddesign: Thorolf Thuestad |Produsent: Ragnhild Gjefsen | Co-produsert av: BIT Teatergarasjen, BEK | Støttet av: Norsk Kulturråd, Bergen kommune, Hordaland fylkeskommune og Bergen Dansesenter.Time and place:
- BIT-Teatergarasjen / Studio USF - 07/05/2016 19:00
- BIT-Teatergarasjen / Studio USF - 07/05/2016 21:00
The film Doing Time (2015) by Anne Marthe Dyvi is exhibited at Krognoshuset in Lund, Sweden. The work was made at BEK for the exhibition LOKALT 2015 in the old prison in Bergen.
Doing Time. A 9,5 minute long film shot in August 2015 in a male prison in Norway. The film portrays the process of a convict making candles, an artist discussing his work with him, and him talking about religion, science and life. The film is shot during two days in a high risk department in the prison. The convict is Emmanuel Okeke, he is from Africa, and he have six months left before he is free after doing six and a half years. Then he will be sent out of Norway. His family lives in Spain. He have not seen them in six years.Time and place:
- BEK - 17/03/2016 to 20/04/2016
The web site for Jamoma has been revamped. It has a new design, and uses Bootstrap so that it works with mobile devices as well.
The structure of the site has been reorganised, making it easier to find information, tutorials and downloads. Tutorials are still missing, but the plan is to add a series of screencasts over the coming weeks.
Andrew M. McKenzie is a legend of the sound art and experimental music scene. With great perseverance and integrity, McKenzie has, since the late 1970s, produced a large body of work, predominantly in performances, records and writings under the name The Hafler Trio.
At BEK we will be screening the documentary “Giving a Baby a Chainsaw – An Art Apart: The Hafler Trio”, followed by a conversation with McKenzie on his work and thinking.
British artist Andrew M. McKenzie was born in the UK in 1963. As a teenager at the epicentre of punk culture in the late 1970s, he brought his budding interest in art and sound together in a project that would have nothing to do with frustrated rock n’ roll or political sloganeering. The project, called “The Hafler Trio”, bloomed in the early 1980s as a platform for McKenzie’s groundbreaking explorations of sound, music and esoteric spirituality. The project as such still exists some 30 years later on and has gone through many different phases and collaborations, often based on impressions of the locations where he?s lived, like the Netherlands, Iceland, Denmark, Estonia and, most recently, Latvia.
With album titles like Fuck, Masturbatorium, I Never Knew That’s Who You Thought You Were, A Thirsty Fish, Being a Firefighter Isn’t Just About Squirting Water, Three Ways of Saying Nothing, and a book title like Plucking Feathers from a Bald Frog, it isn’t hard to sense some kind of kinship with surrealism and Dada in McKenzie’s work. In 2009, he even recorded his own version of Tristan Tzara?s classic song La Chanson Dada.
In the early 1980s, writer William Burroughs and painter Brion Gysin were enthusiastically revived and revered by a new generation of artists not only inspired by a romanticized Beatnik lifestyle but also by the magical theories behind the experimental writing and art. The symposium The Final Academy in London in 1982 showcased these gentlemen in an apprehensive environment that in many ways acted as a springboard for pushing their ideas onwards. For Andrew McKenzie, meeting these icons led to his developing a do-it-yourself Dreamachine kit in collaboration with Gysin and others.
In the mid-2000s, McKenzie developed a concept called “Complementary Education” or “Complemation”. Integrating composition, recording and performing with hypnosis and efficiency techniques in a group setting, he has successfully organised several of these events or workshops in different countries. Instead of working with these separate fields of interest, he has merged them and invited others to join in. The resulting pieces of music from each session are used later on as fundamental building blocks in future workshops. Thereby creating, in theory at least, an endless piece of music.Time and place:
- BEK - 12/04/2016 19:00