Henrik Frisk, saxophonist, photo by Karl-Martin Almqvist.

documents

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Below is a list of documents and articles relating to my research, but also to my teaching. Not all of these are proofread and finished - some of these may be work-in-progress or more or less structured notes for a presentation. The text documents can be viewed on-line or downloaded. Slides and more ellaborate documents with many illustrations are downloadable as PDF files.

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2018-05-24

ArtDoc - an Experimental Archive [slides]

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A presentation on ongoing work on the development of a database for artistic practice and artistic research. The presentation was held at KTH in connection with Ludwig Elblaus public defence of his PhD thesis.

ArtDoc is an experimental archive primarily for documenting artistic practice. One of the ambitions is to address the question of how artistic practice may be documented in a manner that makes visible the processes in action. ArtDoc has its roots in research and artistic practice that began over ten years ago and preliminary tests shows it to be a useful complement to other means to document musical works and artistic processes. The particular case of open form works, works that in some respect are negotiated between the different agents involved, such as composers, musicians and members of the audience was a point of departure and has guided the development to a significant degree. The underlying structure of documentation classes is presented and some of the design choices are discussed. ArtDoc is still under construction but a working proof of concept will be released in 2018.

Download [pdf - 648KB]

Posted: 2018-05-28

2018-02-19

The archive that writes itself

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In artistic research the question of how to document the artistic practice that is the focus of the research is important, but largely unresolved. This paper discusses the various ways in which the materiality of the artistic practice may be represented in different forms for documentation. Identified as a twofold processes in which it is first necessary to identify which kind of data might represent the materiality of the artistic process and then, to work out methods to document it, a number of different systems for documenting music is discussed. The particular case of open form compositions is introduced as an example of how aesthetic perspectives must influence the recording of the artistic process. The notion of the personal archive is further considered as a tool that allows for reflection and introspection, and leads to a discussion concerning different analogies of writing, and of perception as a form for writing. Artistic practice is a complex activity for which there will never be one universal method for documentation, and a preliminary conclusion is drawn that it is not in the structurality of the data that the potential lies, but in the way the different layers generated by the process are interconnected. Deconstructing the roles of the writer, and the reader and the different notions of writing, may widen the perspective and prevent the archive from restructuring and continuously narrowing down what may be seen as valid data in the materiality of artistic practice. Download [ - 0KB]

Posted: 2018-05-28

2017-05-07

ArtDoc - an Experimental Archive and a Tool for Artistic Research

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An article presented at CMMR 2017 in Porto, Portugal. Extended version selected for inclusion in an forthcoming publication on Springer. Download [pdf - 0KB]

Posted: 2018-05-28

2017-01-15

Hell is full of musical amateurs, but so is heaven

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An article published in Danish online publication Seismograf.

Today, when we think of musical performance in Western art music, it is easy to take for granted the division of labor between, for example, musician and composer. However, music has obviously been produced for many thousands of years without there being a need to compose and write it down before playing it. Most genres of music have sustained and developed without this split between creator and performer. In genres where improvisation play an important role the musician sometimes embodies both the creative act and the interpretativesimultaneously. In musics built on aural traditions the composed component is integrally bound to the musician. However, as advanced and standardized technologies for systematic notation of music were developed in Europe the role of the musician slowly began to evolve into two, often separate parts: one part primarily responsible for the construction of music (composer), and one part primarily responsible for the performance of it (musician). There is no doubt that composition and notation are extraordinarily ecient means to structure, communicate and preserve musical ideas and it is fair to assume that the development that led to the division of labor loosely sketched here participated in the advancement of Western music into new aesthetic areas.

Download [html - 100KB]

Posted: 2018-05-28

2013-11-26

KU – igår, idag och i morgon

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Termen Konstnärligt utvecklingsarbete härstammar från högskolereformen 1977. De konstnärliga högskolorna inlemmades i universiteten, gick från att enbart vara undervisningsinstitutioner till att också härbärgera forskning – men av vilket slag, det var frågan. Att se på konstnärliga processer som en del av det akademiska kunskapsbyggandet var inte populärt; till skillnad från “god vetenskaplig forskning”, ansågs konstnärliga projekt varken vara generella eller verifierbara utan byggda på subjektiva ställningstaganden i kontrast till den vetenskapliga metoden. Download [pdf - 89KB]

Posted: 2014-01-12

2013-09-02

Beyond Validity: Claiming the Legacy of the Artist-Researcher

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In this paper we argue that it is essential for artistic research to develop an epistemology and methodology that is responsive to modern society’s demands to move towards a decolonized and ethically grounded paradigm. The positivist belief in a value-free, ‘objective’ science has already been decisively countered by a subjectivist turn. In this context, the artistic researcher can be a vanguard representative of an autoethnographic and politically aware counter-reaction in which the space for subjectivity in research in general is expanded – an expansion that goes 'beyond validity'. Rather than being understood as a non-academic and independent research discipline, we claim that artistic research is situated in a space principally defined by four non-conformal fields of gravitation: the subjective, the academic, the experimental, and the field of the art world. The complexity of this picture should not prevent the development of frames and methods for artistic researchers to use or depart from, while still maintaining an experimental perspective. Drawing on theoretical currents in the social sciences and cultural studies as well as method development in the artistic research field, our argument builds on the conviction that artistic practices have always constituted a source of dissemination of particular kinds of knowledge. These non-discursive forms of transmission of knowledge constitute a foundation for artistic research. Download [pdf - 1KB]

Posted: 2014-01-09

2013-07-17

Improvisation and the self: To listen to the other

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To listen to the other: This phrase raises an incalculable number of issues. One of the central topics in teaching improvisation is learning how to listen to those with whom one plays, but in my experience the most difficult task is listening to the self. The point of listening to the other in performance is obviously not to completely give up the self, nor is it to become the other, but to attune to, or find resonance with, the other. It is in the interaction between two or more musicians that open and unbound improvisation unfolds, in the space between adjusting to the other and listening to the self. In this paper, I will use my artistic practice in the Swedish-Vietnamese group The Six Tones as a context for approaching some of these questions concerning self and other by means of three concepts, each of which have a profound influence on the self: freedom, habit, and individuality. Though these concepts are very broad and deep, they will be tackled in a relatively limited and practical context. Download [pdf - 173KB]

Posted: 2014-01-09

2013-07-17

(Re)thinking Improvisation: from individual to political listening

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When we designed the International Sessions on Artistic Research and the accompanying festival under the same title as the research project, (re)thinking improvisation, we imagined the event to be a venue for summing up and bringing together various conceptual approaches to improvisation. The aim of the three year research project had been to examine three primary aspects that we found to be inextricably bound up with improvisation, yet often not or only implicitly included in its study and description:
  • Interaction
  • Attentive listening
  • Musical freedom
This paper is an attempt to summarize som of the dieas and concepts that surfaced during the concluding conference International sessions in artistic research.
Download [pdf - 473KB]

Posted: 2014-01-10

2013-03-15

Repetition, resonance and discernment

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Musical performance is an artistic manifestation consisting of action, or, being 'enacted' by the artist. At the same time, the artist is in a ‘discerning’, perceiving situation, a situation of ‘resonance’. However, the potential of both discernment and action is dependent upon the performer’s entire artistic background which is the result of a patient acquisition of artistic skills and knowledge, and upon the cultural tools at hand. The moment of kairos, the opportune time at which these processes come together joining the intuitive knowing and the individual skills of the performer to the clearest light is the focus of this second article. We will in the present text look at several instances in the production and performances of a composition by the Swedish composer Henrik Frisk titled Repetition Repeats all other Repetitions. Particular emphasis will be put on video material from CD-recording sessions that took place with the guitarist Stefan Östersjö at the Electronic Music Studios (EMS) in Stockholm in January 2011. Download [pdf - 946KB]

Posted: 2014-01-10

2010-10-06

Frisk, Beirach, Mogensen

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Pressrelease för turnén 2010. Download [pdf - 55KB]

Posted: 2010-10-06

2007-10-29

etherSound

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Link to the programme note and the recordings of etherSound. Download [url - 0KB]

Posted: 2007-10-29

2007-10-29

Repetition Repeats all other Repetitions

Link to the score and the recordings of Repetion... Download [url - 0KB]

Posted: 2007-10-29

2007-10-29

The Six Tones

Link to the score and the recordings of The Six Tones. Download [url - 0KB]

Posted: 2007-10-29

2007-07-01

libIntegra: a system for software-independent multimedia module

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The extended, 8-page version of this article. Download [pdf - 180KB]

Posted: 2007-09-12

2007-07-01

libIntegra: a system for software-independent multimedia module description and storage

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An article describing the libIntegra software development project - a library for multimedia module description and storage (4 page version). This version was presented at ICMC 2007, Copenhagen Download [pdf - 174KB]

Posted: 2007-08-23

2007-03-27

Repetition Repeats all other Repetitions and Symphonie Diagonale

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Notes (script) for an introduction to a seminar on a version of my piece Repetition Repeats all other Repetitions Download [pdf - 0KB]

Posted: 2007-03-27

2007-02-01

Negotiating the Musical Work. An empirical study on the inter-relation between composition, interpretation and performance.

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The second article on a collaboration with Stefan Östersjö. These studies where inteded as a pre-study to what then became "Repetition Repeats all other Repetitions." This paper was presented at EMS 2006, Biejing and is published on the EMS-network site. Download [pdf - 260KB]

Posted: 2007-09-12

2007-01-05

Interactive systems in improvisation and composition.

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An article on the current state of my PhD project. Published in the Dutch Journal of Music Theory, 2006. Download [pdf - 138KB]

Posted: 2007-01-06

2006-11-01

Föreläsningsanteckningar MEB054:1

Föreläsningsanteckningar för första föreläsningen i kursen MEB054 på Bekinge Tekniska Högskola. Download [pdf - 132KB]

Posted: 2006-11-01

2006-11-01

Föreläsningsanteckningar MEB054:2

Föreläsningsanteckningar för andra föreläsningen i kursen MEB054 på Bekinge Tekniska Högskola. Download [pdf - 100KB]

Posted: 2006-11-01

2006-11-01

Kursplan MEB054, BTH

Kursplan och veckoschema för kursen MEB054 på Blekinge Tekniska Högskola Download [pdf - 52KB]

Posted: 2006-11-01

2006-11-01

Slutprojekt MEB054, BTH

Beskrivning och krav för slutprojekt för kursen MEB054 på Blekinge Tekniska Högskola Download [pdf - 52KB]

Posted: 2006-11-01

2006-08-01

Negotiating the Musical Work. An empirical study.

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The first part of a collaboration with Stefan Östersjö. These studies where inteded as a pre-study to what then became "Repetition Repeats all other Repetitions." Presented at ICMC 2006. Download [pdf - 297KB]

Posted: 2007-09-12

2006-06-25

Negotiating the musical work.

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An article co-written with Stefan Östersjö on performer-composer and performer-computer interaction. THIS IS ONLY A DRAFT - UNEDITED AND A WORK IN PROGRESS. Download [pdf - 1,27MB]

Posted: 2006-06-27

2006-03-29

Suggestions and ideas for the Integra Environment.

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Thoughts and ideas related to the Integra project. Download [pdf - 137KB]

Posted: 2006-04-06

2005-04-21

New communications technology in the context of interactive sound art: An empirical analysis

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In this article we examine and analyze the phenomenon of `participation' whilst playing etherSound as a process of creative production, and seek to reflect upon the power of the co-operative practice and its relation to participation and creativity. This paper was published in Organised Sound 2005. Download [pdf - 337KB]

Posted: 2007-09-21

2005-03-10

etherSound - an interactive soundinstallation

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This is the expanded version of this document. This paper was presented at the Spark festival at the University of Minnesota, Minneapolis in January, 2005. Download [pdf - 212KB]

Posted: 2007-09-18

2005-02-24

etherSound - an interactive sound installation

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This article describes the interactive instrument/sound installation etherSound and discusses its artistic and ethical implications. It was presented at the 2005 Spark Festival at Univ. of Minnesota, Minneapolis and is published in the preceedings. Download [pdf - 153KB]

Posted: 2005-02-24

2004-11-08

Max/MSP kurs - uppgifter

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Uppgifter till kursen i Max/MSP för kompositionsutbildningen på Musikhögskolan i Malmö 2004/2005. Patcher som hör till uppgiften laddas ner här. Download [pdf - 144KB]

Posted: 2004-11-10

2004-10-11

bioSound - Project description

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This is a preliminary description of the ideas behind the project bioSound that I hope to realize within the year 2005. Download [pdf - 82KB]

Posted: 2004-10-12

2004-09-14

Current status (slides)

These are the slides I used for my presentation at Malmö Art Academy on September 14, 2004. Download [pdf - 2MB]

Posted: 2004-09-16

2004-09-14

Notes for presentation

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These are the notes for the presentation I did at Malmö Art Academy on September 14, 2004. Download [pdf - 90KB]

Posted: 2004-09-16

2004-09-14

Characteristics of a musical work

These are the slides we (myself and Stefan Östersjö) used for our common presentation at Malmö Art Academy on September 14, 2004 Download [pdf - 333KB]

Posted: 2004-09-16


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