List of publications

2025

1. Franklin, A., Lindell, R., & Frisk, H. (2025). There and Back Again: Composing for Networked Reverberation Chamber and Live Orchestra. The 9th Web Audio Conference.

   @inproceedings{Frisk2025d,
     author = {Franklin, Austin and Lindell, Rikard and Frisk, Henrik},
     booktitle = {The 9th Web Audio Conference},
     year = {2025},
     title = {There and Back Again: Composing for Networked Reverberation Chamber and Live Orchestra}
   }
2. Franklin, A., Mitic, R., Hedin, D., Lindell, R., & Frisk, H. (2025). Development of a Web-Based Real-Time Distributed Reverberation Chamber for Live Concert Applications. Journal of Audio Engineering Society, 1–10.

   @article{Frisk2025c,
     author = {Franklin, A and Mitic, R. and Hedin, D. and Lindell, R. and Frisk, H.},
     year = {2025},
     journaltitle = {Journal of Audio Engineering Society},
     note = {https://doi.org/10.17743/jaes.2022.0245},
     pages = {1--10},
     title = {Development of a Web-Based Real-Time Distributed Reverberation Chamber for Live Concert Applications}
   }
3. Holzer, D., Frisk, H., & Holzapfel, A. (2025). The Imperfect Copy: Role Playing Reenactments of Historical Electronic Sound Instruments. Proceedings of the New Interfaces for Musical Expression (NIME) Conference 2025.

   @inproceedings{Frisk2025,
     author = {Holzer, Derek and Frisk, Henrik and Holzapfel, Andre},
     organization = {Presented at the New Interfaces for Musical Expression (NIME) conference, Canberra, Australia},
     publisher = {NIME},
     booktitle = {Proceedings of the New Interfaces for Musical Expression (NIME) conference 2025},
     year = {2025},
     note = {Awarded 'Highly Commended' at the conference},
     title = {The Imperfect Copy: Role Playing Reenactments of Historical Electronic Sound Instruments}
   }
4. Frisk, H., & Schacher, J. (2025). Experience of Space in Sound: Perceptions, concepts and methods. Organised Sound, 1–10. https://doi.org/10.1017/S1355771825100678

   @article{Frisk2025a,
     title = {Experience of Space in Sound: Perceptions, concepts
                       and methods},
     doi = {10.1017/S1355771825100678},
     journal = {Organised Sound},
     author = {Frisk, Henrik and Schacher, Jan},
     year = {2025},
     pages = {1–10}
   }
5. Frisk, H. (2025). Konstnärlig forskning är inte ett homogent fält (Number 4). Parabol.

   @misc{frisk2025g,
     author = {Frisk, Henrik},
     title = {Konstnärlig forskning är inte ett homogent fält},
     howpublished = {Parabol},
     month = apr,
     year = {2025},
     issue = {4},
     note = {https://www.parabol.press/konstnarlig-forskning-ar-inte-ett-homogent-falt/ [accessed 2026-01-01]}
   }
6. Frisk, H. (2025). Musikliv i förändring. Conference presentation.

   @unpublished{Frisk2025f,
     author = {Frisk, Henrik},
     year = {2025},
     howpublished = {Conference presentation},
     note = {Musikforskning idag, Örebro, 2025},
     title = {Musikliv i förändring}
   }
7. Frisk, H. (2025). Beyond the unnecessary self. In H. H. Schutz (Ed.), Proceedings of the 1st symposium Forum Artistic Research: listen for beginnings. Gustav Mahler Private University of Music. https://doi.org/10.22501/rc.3851172

   @inproceedings{frisk2025beyond,
     author = {Frisk, Henrik},
     title = {Beyond the unnecessary self},
     booktitle = {Proceedings of the 1st symposium Forum Artistic Research: listen for beginnings},
     editor = {Schutz, Hanns Holger},
     address = {Klagenfurt},
     publisher = {Gustav Mahler Private University of Music},
     year = {2025},
     doi = {10.22501/rc.3851172}
   }

2024

1. Catena, S., & Frisk, H. (2024). A speaker agnostic approach to spatialisation in electroacoustic music. SMC 2024.

   @inproceedings{Frisk2024,
     author = {Catena, Stefano and Frisk, Henrik},
     title = {A speaker agnostic approach to spatialisation in
                       electroacoustic music},
     booktitle = {SMC 2024},
     year = {2024},
     note = {In print}
   }
2. Frisk, H. (2024). Sound intuition. Journal of Sonic Studies, 26.

   @article{frisk2024,
     author = {Frisk, H.},
     title = {Sound intuition},
     journal = {Journal of Sonic Studies},
     number = {26},
     year = {2024},
     note = {\url{https://www.researchcatalogue.net/view/3025541/3025542}}
   }
3. Frisk, H. (2024). Beyond the unnecessary self. In Forum Artistic Research: listen for beginnings. Gustav Mahler Private University for Music (GMPU), Klagenfurt, Austria.

   @misc{Frisk2024c,
     author = {Frisk, Henrik},
     title = {Beyond the unnecessary self},
     booktitle = {Forum Artistic Research: listen for beginnings},
     year = {2024},
     publisher = {Gustav Mahler Private University for Music (GMPU),
                       Klagenfurt, Austria},
     note = {Conference presentation}
   }

2023

1. Frisk, H. (2023, June). Exploring an ethics of instruments. Vintage Materialities in Music.

   @inproceedings{frisk2023a,
     author = {Frisk, H.},
     title = {Exploring an ethics of instruments},
     booktitle = {Vintage Materialities in Music},
     year = {2023},
     month = jun,
     organization = {Orpheus Institute, Gent}
   }
2. Östersjö, S., Frisk, H., Hebert, D., & Nguyên, T. T. (2023). Shared Listenings: Methods for Transcultural Musicianship and Research. Cambridge University Press, Cambridge.

   @book{Frisk2023,
     author = {Östersjö, S. and Frisk, H. and Hebert, D. and Nguyên, T. T.},
     title = {Shared Listenings: Methods for Transcultural
                       Musicianship and Research},
     publisher = {Cambridge University Press, Cambridge},
     year = {2023},
     series = {Elements: 21st Century Practice},
     note = {https://tinyurl.com/yhfx4dhm}
   }
3. Lindell, R., & Frisk, H. (2023). The Unfinder: Finding and reminding in electronic music. Proceedings of CMMR 2023.

   @inproceedings{Frisk2023e,
     author = {Lindell, R. and Frisk, H},
     title = {The Unfinder: Finding and reminding in electronic
                       music},
     booktitle = {Proceedings of CMMR 2023},
     year = {2023},
     organization = {CMMR}
   }
4. Pauletto, S., Selfridge, R., Hölling, J., Holzapfel, A., & Frisk, H. (2023). Connecting Sound Design Future with Historical Creative Practices: Developing Digital Tools by Modelling Historical Sound Effects. Forum Acousticum 2023.

   @inproceedings{Frisk2023d,
     author = {Pauletto, S. and Selfridge, R. and Hölling, J. and Holzapfel, A. and Frisk, H.},
     title = {Connecting Sound Design Future with Historical
                       Creative Practices: Developing Digital Tools by
                       Modelling Historical Sound Effects},
     booktitle = {Forum Acousticum 2023},
     year = {2023},
     organization = {10th Convention of the European Acoustics
                       Association}
   }

2021

1. Frisk, H., Pauletto, S., Baudry, B., Thomas Durieux, C. P., Gandini, E., Gustafsson, E., & Bresin, R. (2021). Sonifying Invisible Computer Processes. 13th Conference on Creativity & Cognition: "Creativity, Craft, and Design".

   @inproceedings{frisk2021b,
     author = {Frisk, Henrik and Pauletto, Sandra and Baudry, Benoit and Thomas Durieux, Claudio Panariello and Gandini, Erik and Gustafsson, Erik and Bresin, Roberto},
     title = {Sonifying Invisible Computer Processes},
     booktitle = {13th conference on Creativity \& Cognition:
                       "Creativity, craft, and design"},
     year = {2021},
     organization = {SIGCHI},
     publisher = {ACM, Venice},
     note = {Submitted for publication}
   }
2. Holzer, D., Holzapfel, A., & Frisk, H. (2021, June). Sounds of Futures Passed: Media Archaeology and Design Fiction as NIME Methodologies. Proceedings of the International Conference on New Interfaces for Musical Expression. https://doi.org/10.21428/92fbeb44.b368bcd5

   @inproceedings{Frisk2021a,
     author = {Holzer, Derek and Holzapfel, Andre and Frisk, Henrik},
     title = {Sounds of Futures Passed: Media Archaeology and
                       Design Fiction as NIME Methodologies},
     booktitle = {Proceedings of the International Conference on New
                       Interfaces for Musical Expression},
     year = {2021},
     month = jun,
     address = {Shanghai, China},
     issn = {2220-4806},
     doi = {10.21428/92fbeb44.b368bcd5},
     url = {https://nime.pubpub.org/pub/20nimes}
   }

   This paper provides a study of a cooperative learning workshop which invited composers, musicians, and designers to investigate electronic sound instruments from the history of the Royal College of Music in Stockholm (KMH) and EMS Elektronmusikstudion in Stockholm. The workshop applied Media Archaeology methods towards analyzing one particular instrument from the past, the Dataton System 3000, and Design Fiction methods towards imagining several speculative instruments of the future. Each section revealed very specific utopian ideas surrounding the design of sound instruments. Here, we lay out the intellectual, material, and social conditions of the workshop, along with a selection of the workshop’s outcomes, and some reflections on their significance for the NIME community. By presenting this method-in-progress, our hope is to inspire dialog around the premise that the linked examination of historical electronic sound technology’s affordances and ethics may bear rich fruit for contemporary instrument design practices.
3. Pauletto, S., Selfridge, R., Holzapfel, A., & Frisk, H. (2021). From foley professional practice to sonic interaction design: Initial research conducted within the radio sound studio project. Nordic SMC 2021.

   @conference{Frisk2021e,
     author = {Pauletto, S and Selfridge, R. and Holzapfel, A and Frisk, H},
     title = {From foley professional practice to sonic
                       interaction design: Initial research conducted
                       within the radio sound studio project},
     booktitle = {Nordic SMC 2021},
     year = {2021},
     organization = {SMC}
   }
4. Frisk, H. (2021). L’improvisation et le moi : écouter l’autre. PaaLabRes, 3.

   @article{frisk2021d,
     author = {Frisk, H},
     title = {L’improvisation et le moi : écouter l’autre},
     journal = {PaaLabRes},
     year = {2021},
     number = {3},
     note = {Online publication: \url{http://www.paalabres.org/paalabres-2021f-faire-tomber-les-murs/}}
   }
5. Frisk, H., Östersjö, S., Hebert, D., & Thuy, N. T. (2021). Studio Saigon: Telematic Performance and Recording Technologies in Light of the Covid-19 Pandemic. The Urban Research Plaza’s 18th Urban Culture Forum.

   @inproceedings{frisk2021c,
     author = {Frisk, Henrik and Östersjö, Stefan and Hebert, David and Thuy, Nguyen Thanh},
     title = {Studio Saigon: Telematic Performance and Recording
                       Technologies in Light of the Covid-19 Pandemic},
     booktitle = {The Urban Research Plaza’s 18th Urban Culture Forum},
     year = {2021},
     publisher = {Urban Research Plaza, Bankok, Thailand},
     note = {http://www.urpbkk.com/urp/Forum.html}
   }

2020

1. Frisk, H. (2020). Aesthetics, Interaction and Machine Improvisation. Organised Sound, 25(1), 33–40. https://doi.org/10.1017/S135577181900044X

   @article{Frisk2020,
     title = {Aesthetics, Interaction and Machine Improvisation},
     volume = {25},
     doi = {10.1017/S135577181900044X},
     number = {1},
     journal = {Organised Sound},
     publisher = {Cambridge University Press},
     author = {Frisk, Henrik},
     year = {2020},
     pages = {33–40}
   }

   Departing from the artistic research project Goodbye Intuition (GI) hosted by the Norwegian Academy of Music in Oslo, this article discusses the aesthetics of improvising with machines. Playing with a system such as the one described in this article, with limited intelligence and no real cognitive skills, will obviously reveal the weaknesses of the system, but it will also convey part of the preconditions and aesthetic frameworks that the human improviser brings to the table. If we want the autonomous system to have the same kind of freedom we commonly value in human players’ improvisational practice, are we prepared to accept that it may develop in a direction that departs from our original aesthetical ambitions? The analyses is based on some of the documented interplay between the musicians in a group in workshops and laboratories. The question of what constitutes an ethical relationship in this kind of improvisation is briefly discussed. The aspect of embodiment emerges as a central obstacle in the development of musical improvisation with machines.
2. Östersjö, S., Frisk, H., & Hebert, D. (2020). Musical Transformations: Networked Performance in Intercultural Music Creation. IS THE VIRTUAL REAL? Musical Communities in the 21st Century PGVIS 2020.

   @inproceedings{FriskOstersjo2020,
     author = {Östersjö, S. and Frisk, H. and Hebert, D.},
     title = {Musical Transformations: Networked Performance in
                       Intercultural Music Creation},
     booktitle = {IS THE VIRTUAL REAL? Musical Communities in the 21st
                       Century PGVIS 2020},
     year = {2020},
     publisher = {PGVIS},
     tags = {Transfomations}
   }

2019

1. Frisk, H., & Nguyen, T. T. (2019). Found in translation. Seismograf. https://seismograf.org/fokus/sonic-argumentation-i/frisk_thuy

   @article{frisk2019-2,
     author = {Frisk, H. and Nguyen, T. T.},
     title = {Found in translation},
     journal = {Seismograf},
     url = {https://seismograf.org/fokus/sonic-argumentation-i/frisk_thuy},
     issn = {2245-4705},
     year = {2019}
   }
2. Frisk, H., & Elberling, A. (2019). Machinic propositions: artistic practice and deterritorialization. In P. Guidici & P. de Assis (Eds.), Aberrant nuptials: Deleuze and Artistic Research 2. Leuven University Press, Leuven.

   @incollection{Frisk2017e,
     author = {Frisk, H. and Elberling, A.},
     editor = {Guidici, P. and de Assis, P.},
     booktitle = {Aberrant nuptials: Deleuze and Artistic Research 2},
     title = {Machinic propositions: artistic practice and
                       deterritorialization},
     publisher = {Leuven University Press, Leuven},
     series = {Orpheus Institute Series},
     year = {2019}
   }
3. Skoogh, F., & Frisk, H. (2019). Performance values-an artistic research perspective on music performance anxiety in classical music. Journal for Research in Arts and Sports Education, 3(1).

   @article{Frisk2019,
     title = {Performance values-an artistic research perspective
                       on music performance anxiety in classical music},
     author = {Skoogh, F. and Frisk, H.},
     journal = {Journal for Research in Arts and Sports Education},
     volume = {3},
     number = {1},
     year = {2019}
   }

2018

1. Frisk, H. (2018). ArtDoc - An Experimental Archive and a Tool for Artistic Research. In A. M., D. M., K.-M. R., & Y. S. (Eds.), Music Technology with Swing: Vol. CMMR 2017 (Number 11265). Springer, Cham.

   @incollection{frisk2018:artdoc,
     author = {Frisk, H.},
     editor = {M., Aramaki and M., Davies and R., Kronland-Martinet and S., Ystad},
     booktitle = {Music Technology with Swing},
     title = {ArtDoc - An Experimental Archive and a Tool for Artistic Research},
     publisher = {Springer, Cham},
     year = {2018},
     volume = {CMMR 2017},
     number = {11265},
     series = {Lecture Notes in Computer Science}
   }
2. Frisk, H., & Elberling, A. (2018). Machinic Propositions: Artistic Practice and Deterritorialisation. In J. Quaresma & F. Rosa Dias (Eds.), INVESTIGAÇÃO EMARTES: A necessidade das ideias artísticas.

   @incollection{Frisk2017f,
     author = {Frisk, H. and Elberling, A.},
     title = {Machinic Propositions: Artistic Practice and
                       Deterritorialisation},
     booktitle = {INVESTIGAÇÃO EMARTES: A necessidade das ideias
                       artísticas},
     publisher = {},
     year = {2018},
     editor = {Quaresma, J. and Rosa Dias, F.}
   }

2017

1. Frisk, H., & Elberling, A. (2017). Machinic propositions. Dare 2017.

   @inproceedings{frisk2017b,
     author = {Frisk, H. and Elberling, A.},
     booktitle = {Dare 2017},
     organization = {Orpheus Institute, Gent},
     title = {Machinic propositions},
     year = {2017},
     tags = {artistic}
   }
2. Frisk, H. (2017). The archive that writes itself. Swedish Journal of Music Research, 99, 37–59.

   @article{Frisk2017,
     author = {Frisk, H.},
     journal = {Swedish Journal of Music Research},
     title = {The archive that writes itself},
     volume = {99},
     pages = {37-59},
     year = {2017}
   }
3. Frisk, H. (2017). Hell is full of musical amateurs, but so is heaven. Seismograf.

   @article{Frisk2016b,
     author = {Frisk, H.},
     journal = {Seismograf},
     month = may,
     note = {http://seismograf.org/fokus/composer-performer},
     title = {Hell is full of musical amateurs, but so is heaven},
     year = {2017}
   }
4. Frisk, H. (2017). Varför interaktiv ? In M. Bunnskog (Ed.), Compoz. Audiorama.

   @incollection{frisk2017c,
     author = {Frisk, H.},
     booktitle = {Compoz},
     editor = {Bunnskog, M.},
     publisher = {Audiorama},
     title = {Varf{\"o}r interaktiv ?},
     year = {2017}
   }
5. Frisk, H. (2017). ArtDoc - an Experimental Archive and a Tool for Artistic Research.

   @inproceedings{frisk2017d,
     author = {Frisk, H},
     publisher = {13th International Symposium on Computer Music Multidisciplinary Research (CMMR)},
     title = {ArtDoc - an Experimental Archive and a Tool for Artistic Research},
     year = {2017}
   }

2016

1. Frisk, H. (2016). Vandrande ljud. Nutida Musik, 261-262.

   @article{frisk2016a,
     author = {Frisk, H.},
     journal = {Nutida musik},
     number = {261-262},
     title = {Vandrande ljud},
     year = {2016}
   }

2015

1. Frisk, H. (2015). Thinking in Practice. In H. Frisk, K. Johansson, & Å. Lindberg-Sand (Eds.), Acts of Creation: Thoughts on artistic research supervision. Symposion.

   @incollection{frisk2015,
     author = {Frisk, H.},
     booktitle = {Acts of Creation: Thoughts on artistic research supervision},
     editor = {Frisk, H. and Johansson, K. and Lindberg-Sand, {\AA}.},
     publisher = {Symposion},
     title = {Thinking in Practice},
     year = {2015}
   }
2. Frisk, H. (2015). A Marxist view on the theory/practice divide. In P.-H. Holgersson & J.-O. Gullö (Eds.), Festschrift to Cecilia Hultberg. KMH publishing.

   @incollection{frisk2015b,
     author = {Frisk, H.},
     booktitle = {Festschrift to Cecilia Hultberg},
     editor = {Holgersson, P-H. and Gull{\"o}, J-O.},
     publisher = {KMH publishing},
     title = {A Marxist view on the theory/practice divide},
     year = {2015}
   }
3. Frisk, H., Johansson, K., & Lindberg-Sand, Å. (2015). Acts of Creation - Introduction. In H. Frisk, K. Johansson, & Å. Lindberg-Sand (Eds.), Acts of Creation: Thoughts on artistic research supervision. Symposion.

   @incollection{frisk2015c,
     author = {Frisk, H. and Johansson, K. and Lindberg-Sand, {\AA}.},
     booktitle = {Acts of Creation: Thoughts on artistic research supervision},
     editor = {Frisk, H. and Johansson, K. and Lindberg-Sand, {\AA}.},
     publisher = {Symposion},
     title = {Acts of Creation - Introduction},
     year = {2015}
   }

2014

1. Frisk, H. (2014). Improvisation and the self: to listen to the other. In Soundweaving: Writings on Improvisation. Cambridge Scholars Publishing.

   @incollection{Frisk2012,
     author = {Frisk, Henrik},
     booktitle = {Soundweaving: Writings on Improvisation},
     editor = {},
     publisher = {Cambridge Scholars Publishing},
     title = {Improvisation and the self: to listen to the other},
     year = {2014}
   }
2. Brunson, B., & Frisk, H. (2014). Building for the Future: Research and Innovation in KMH’s new facilities. SMC Sweden 2014: Bridging Science, Art, and Industry.

   @inproceedings{Brunson2014,
     author = {Brunson, B. and Frisk, H.},
     booktitle = {SMC Sweden 2014: Bridging science, art, and industry},
     organization = {Stockholm: KTH Royal Institute of Technology},
     title = {Building for the Future: Research and Innovation in KMH's new facilities},
     year = {2014}
   }
3. Frisk, H., Coessens, C., & Östersjö, S. (2014). Repetition, resonance and discernment. In D. Crispin & B. Gilmore (Eds.), Artistic Experimentation in Music. Orpheus Institute Series, Gent.

   @incollection{Friskcoessens2013,
     author = {Frisk, H. and Coessens, C. and \"{O}stersj\"{o}, S.},
     booktitle = {Artistic Experimentation in Music},
     editor = {Crispin, D. and Gilmore, B},
     publisher = {Orpheus Institute Series, Gent},
     title = {Repetition, resonance and discernment},
     year = {2014}
   }
4. Frisk, H. (2014). Teknik och känsla. In Aftonbladet.

   @misc{frisk14-ab,
     address = {Aftonbladet, Stockholm},
     author = {Frisk, H.},
     booktitle = {Aftonbladet},
     month = jun,
     note = {Publicerad p{\aa} kultursidan i Aftonbladet 2014-06-30},
     title = {{Teknik och k\"{a}nsla}},
     year = {2014}
   }
5. Frisk, H., & Johansson, K. (2014). On the development of a dynamic research seminar.

   @misc{frisk14-tba,
     author = {Frisk, H. and Johansson, K.},
     note = {TBA},
     title = {On the development of a dynamic research seminar},
     year = {2014}
   }

2013

1. Frisk, H. (2013). Kuba 2001: musik, politik och den sociala dimensionen. In P. Berry (Ed.), If I were a Drongo bird. Lunds Universitet - ForMuLär.

   @incollection{frisk2013c,
     author = {Frisk, H.},
     booktitle = {If I were a Drongo bird.},
     editor = {Berry, Peter},
     publisher = {Lunds Universitet - ForMuL\"{a}r},
     title = {Kuba 2001: musik, politik och den sociala dimensionen},
     year = {2013}
   }
2. Frisk, H. (2013). Review of Kim Hedås’ Linjer. In VR årsbok i KFoU. VR.

   @incollection{frisk2013-2,
     author = {Frisk, H.},
     booktitle = {VR {\aa}rsbok i KFoU},
     publisher = {VR},
     title = {Review of Kim Hed{\aa}s' Linjer},
     year = {2013}
   }
3. Frisk, H., & Östersjö, S. (2013). In and Through Music: Project report to VR.

   @article{frisk13-vr,
     author = {Frisk, H and \"{O}stersj\"{o}, S.},
     institution = {Malmo Academy of Music, Lund University},
     title = {In and Through Music: Project report to VR},
     year = {2013}
   }
4. Frisk, H., & Östersjö, S. (Eds.). (2013). (Re)Thinking Improvisation: artistic explorations and conceptual writing. Lund University Press.

   @book{friskostersjo2013,
     editor = {Frisk, H. and \"{O}stersj\"{o}, S.},
     publisher = {Lund University Press},
     title = {(Re)Thinking Improvisation: artistic explorations and conceptual writing},
     year = {2013}
   }
5. Frisk, H., & Östersjö, S. (Eds.). (2013). (Re)thinking Improvisation: Artistic explorations and conceptual writing. Lund University.

   @book{frisk-re_improv13,
     editor = {Frisk, H. and \"{O}stersj\"{o}, S.},
     note = {(Book and two CDs and one DVD)},
     publisher = {Lund University},
     title = {(Re)thinking Improvisation: Artistic explorations
                       and conceptual writing},
     year = {2013}
   }
6. Frisk, H., & Östersjö, S. (2013). (Re)Thinking improvisation: from Individual to Political Listening. In H. Frisk & S. Östersjö (Eds.), (Re)Thinking Improvisation: artistic explorations and conceptual writing (pp. 7–18). Lund University Press.

   @incollection{Friskostersjo2013b,
     author = {Frisk, H. and \"{O}stersj\"{o}, S.},
     booktitle = {(Re)Thinking Improvisation: artistic explorations and conceptual writing},
     chapter = {0},
     editor = {Frisk, H. and \"{O}stersj\"{o}, S.},
     pages = {7-18},
     publisher = {Lund University Press},
     title = {(Re){T}hinking improvisation: from Individual to Political Listening},
     year = {2013}
   }
7. Frisk, H. (2013). The (un)necessary Self. In H. Frisk & S. Östersjö (Eds.), (Re)Thinking Improvisation: artistic explorations and conceptual writing (pp. 143–156). Lund University Press.

   @incollection{Frisk2013,
     author = {Frisk, Henrik},
     booktitle = {(Re)Thinking Improvisation: artistic explorations and conceptual writing},
     chapter = {5},
     editor = {Frisk, H. and \"{O}stersj\"{o}, S.},
     pages = {143-56},
     publisher = {Lund University Press},
     title = {The (un)necessary Self},
     year = {2013}
   }
8. Frisk, H., & Östersjö, S. (2013). Beyond Validity: claiming the legacy of the artist-researcher. Swedish Journal of Music Research, 2013, 41–63.

   @article{Frisk-ost13,
     author = {Frisk, Henrik and \"{O}stersj\"{o}, Stefan},
     journal = {Swedish Journal of Music Research},
     pages = {41-63},
     title = {Beyond Validity: claiming the legacy of the
                       artist-researcher},
     volume = {2013},
     year = {2013}
   }

2011

1. Frisk, H., & Östersjö, S. (2011). Music for a Better Life. Improvisation.

   @misc{Frisk-ost2011,
     author = {Frisk, H. and \"{O}stersj\"{o}, S.},
     howpublished = {Improvisation},
     note = {A collaboration with Isaac Julien and his film
                       Better Life curated by Sarat Maharaj.},
     title = {Music for a Better Life},
     year = {2011}
   }

   With its urgent experimental narrative and exquisite imagery, Better Life is a film with immediate appeal. Thematically, it has many links to our own artistic practice, but our first contact with the film raised several questions concerning the form for our collaboration with Isaac Julien. Firstly: isn’t this a completed work? Where is the scope for new music to change or complement the perspective for this elegantly formulated totality? And how could the ambient sounds, the voice-over text and existing music soundtrack be incorporated in our adaptation? In contrast to the notion of a fixed work, defined by one solitary (usually male) originator – a concept that is linked in western art music to the score’s authoritarian definition of the work’s identity – music, as a socially defined phenomenon, can be a platform where we create shared, common cultural meanings. The various levels at which we create, interpret and share the experience of musical “works” forms the basis for an understanding of what Umberto Eco calls a “work in movement”. Perhaps the most important change that has taken place in this new understanding of the musical work is the shift in focus from the score and the fixed work to the encounter with a diversity of listeners. Our meeting with Isaac in London last June developed into an opening and a natural continuation of our own ongoing project. He immediately declared that he was less interested in finalised works (products) than in the development of a work over time, through new versions. This gave us a common platform that we could use to approach the various audio and visual elements of the film as being in part mutually independent. The music of a scene could be replaced by new sounds, while environmental sounds could be kept or processed; concrete sounds as abstract, musical units.
2. Frisk, H., & Östersjö, S. (2011). The Needle’s Eye: Två konstnärliga disputationer. VR, KFOU.

   @article{frisk11,
     author = {Frisk, H. and {\"O}stersj{\"o}, S.},
     journal = {VR, KFOU},
     title = {The Needle's Eye: {T}v{\aa} konstn{\"a}rliga disputationer.},
     year = {2011}
   }
3. Frisk, H. (2011). Time and reciprocity in improvisation: on the aspect of in-time systems in improvisation with and on machines. ArtFutures - Current Issues in Higher Arts Education, ELIA.

   @article{frisk11:ELIA,
     author = {Frisk, H.},
     journal = {ArtFutures - Current issues in higher arts education, ELIA},
     title = {Time and reciprocity in improvisation: on the aspect of in-time systems in improvisation with and on machines.},
     year = {2011}
   }
4. Bullock, J., & Frisk, H. (2011). The Integra Framework for Rapid Modular Audio Application Development. Proceedings of the International Computer Music Conference 2011.

   @inproceedings{Frisk-bull112011,
     address = {Huddersfield, GB},
     author = {Bullock, Jamie and Frisk, Henrik},
     booktitle = {Proceedings of the International Computer Music Conference 2011},
     organization = {ICMA},
     title = {{The Integra Framework for Rapid Modular Audio Application Development}},
     year = {2011}
   }

2010

1. Frisk, H., & Karlsson, H. (2010). Time and Interaction: Research through non-visual arts and media. In M. Biggs & H. Karlsson (Eds.), The Routledge Companion to Research in the Arts (pp. 277–292). Routledge.

   @incollection{frisk10,
     author = {Frisk, Henrik and Karlsson, Henrik},
     booktitle = {The Routledge Companion to Research in the Arts},
     chapter = {16},
     editor = {Biggs, M. and Karlsson, H.},
     pages = {277-92},
     publisher = {Routledge},
     title = {Time and Interaction: Research through non-visual arts and media},
     year = {2010}
   }

2009

1. Cobussen, M., Frisk, H., & Weijland, B. (2009). The Field of Musical Improvisation. Konturen, 2.

   @article{frisk-cobussen09,
     author = {Cobussen, Marcel and Frisk, Henrik and Weijland, Bart:},
     journal = {Konturen},
     title = {The Field of Musical Improvisation},
     volume = {2},
     year = {2009}
   }
2. Frisk, H. (2009). Improvisation, Computers, and Primary Process: Why improvise with computers? International Magazine for Music New Sound.

   @article{frisk09:improv,
     author = {Frisk, Henrik},
     journal = {International Magazine for Music New Sound},
     title = {Improvisation, Computers, and Primary Process: Why improvise with computers?},
     year = {2009}
   }
3. Bullock, J., & Frisk, H. (2009). An object oriented model for the representation of temporal data in the Integra framework. Proceedings of the International Computer Music Conference 2009.

   @inproceedings{frisk09,
     author = {Bullock, Jamie and Frisk, Henrik},
     booktitle = {Proceedings of the International Computer Music Conference 2009},
     publisher = {ICMA},
     title = {An object oriented model for the representation of temporal data in the Integra framework.},
     year = {2009}
   }

2008

1. Bullock, J., Frisk, H., & Coccioli, L. (2008). Sustainability of ‘Live Electronic’ Music in the Integra Project. The 14th IEEE Mediterranean Electrotechnical Conference Proceedings.

   @inproceedings{Frisk-bullock2008,
     address = {Ajaccio, Corsica},
     author = {Bullock, Jamie and Frisk, Henrik and Coccioli, Lamberto},
     booktitle = {{The 14th IEEE Mediterranean Electrotechnical
                       Conference Proceedings}},
     optnote = {IEEE Catalog Number: CFP08MEL-CDR},
     organization = {IEEE},
     title = {Sustainability of `Live Electronic' Music in the
                       Integra Project},
     year = {2008}
   }

   In this paper we describe a new XML file format and a database schema designed for the storage of performance data and meta-data relating to live electronic music. We briefly describe the architecture of the Integra environment, and give examples of the hierarchical modelling of Integra classes. The separation of module definition, module instance data and module implementation data is presented as one of the key components of the Integra system. The libIntegra library is proposed as a means for supporting the file formats in target applications.
2. Frisk, H. (2008). Improvisation, Computers, and Interaction: Rethinking Human-Computer Interaction Through Music. Faculty of Fine and Performing Arts, Lund University.

   @book{frisk08,
     author = {Frisk, H.},
     school = {Faculty of Fine and Performing Arts, Lund University},
     title = {Improvisation, Computers, and Interaction: Rethinking Human-Computer Interaction Through Music},
     year = {2008}
   }
3. Frisk, H. (2008). Improvisation, Computers, and Interaction: Rethinking Human-Computer Interaction Through Music. Lund University Press.

   @book{frisk08-2,
     author = {Frisk, Henrik},
     publisher = {Lund University Press},
     title = {{Improvisation, Computers, and Interaction: Rethinking Human-Computer Interaction Through Music}},
     year = {2008}
   }

2007

1. Bullock, J., & Frisk, H. (2007). libIntegra: A System for Software-Independent Multimedia Module Description and Storage. Proceedings of the International Computer Music Conference 2007.

   @inproceedings{Frisk-bull2007,
     address = {Copenhagen, Denmark},
     author = {Bullock, Jamie and Frisk, Henrik},
     booktitle = {Proceedings of the International Computer Music
                       Conference 2007},
     indextitle = {libIntegra: A System for Software-Independent
                       Multimedia Module Desc. and Storage},
     organization = {ICMA},
     title = {{libIntegra: A System for Software-Independent
                       Multimedia Module Description and Storage}},
     year = {2007}
   }

   In this paper we describe a new XML file format and a database schema designed for the storage of performance data and meta-data relating to live electronic music. We briefly describe the architecture of the Integra environment, and give examples of the hierarchical modelling of Integra classes. The separation of module definition, module instance data and module implementation data is presented as one of the key components of the Integra system. The libIntegra library is proposed as a means for supporting the file formats in target applications.
2. Frisk, H. (2007). Interactive systems in improvisation and composition. A work in progress. Dutch Journal of Music Theory.

   @article{frisk07,
     author = {Frisk, Henrik},
     journal = {Dutch Journal of Music Theory},
     title = {Interactive systems in improvisation and composition. A work in progress.},
     year = {2007}
   }

2006

1. Frisk, H., & Östersjö, S. (2006). Negotiating the Musical Work. An empirical study. Proceedings of the International Computer Music Conference 2006, 242–249.

   @inproceedings{frisk-ost06,
     author = {Frisk, H. and \"{O}stersj\"{o}, S.},
     booktitle = {Proceedings of the International Computer Music Conference 2006},
     indextitle = {Negotiating the Musical Work II},
     organization = {ICMA},
     pages = {242--9},
     publisher = icma,
     shorttitle = {Negotiating the Musical Work II},
     title = {Negotiating the Musical Work. An empirical study},
     year = {2006}
   }
2. Frisk, H., & Östersjö, S. (2006). Negotiating the Musical Work. An empirical study on the inter-relation between composition, interpretation and performance. Proceedings of EMS -06, Beijing. Terminology and Translation. http://www.ems-network.org/spip.php?article245

   @inproceedings{frisk-ost06-2,
     author = {Frisk, H. and \"{O}stersj\"{o}, S.},
     booktitle = {Proceedings of EMS -06, Beijing. Terminology and Translation},
     indextitle = {Negotiating the Musical Work I},
     organization = ems,
     publisher = {EMS},
     shorttitle = {Negotiating the Musical Work I},
     title = {Negotiating the Musical Work. {A}n empirical study on the inter-relation between composition, interpretation and performance},
     url = {http://www.ems-network.org/spip.php?article245},
     urldate = {2009-11-29},
     year = {2006},
     bdsk-url-1 = {http://www.ems-network.org/spip.php?article245}
   }

2005

1. Frisk, H., & Yoshida, M. (2005). New Communications Technology in the Context of Interactive Sound Art: an empirical analysis. Organised Sound, 10(2), 121–127.

   @article{Frisk2005,
     author = {Frisk, Henrik and Yoshida, Miya},
     journal = {Organised Sound},
     number = {2},
     pages = {121--7},
     title = {New Communications Technology in the Context of Interactive Sound Art: an empirical analysis},
     volume = {10},
     year = {2005}
   }

   In this article we discuss the notion of "interaction", "participation" and "the public" in artistic work, specifically within the context of the exhibition The Invisible Landscapes (curated by Miya Yoshida, Malmo Konstmuseum, 2003) and etherSound (created by Henrik Frisk), a sound installation displayed in that exhibition. In this work the audience is invited to participate in the creation of new sound events by sending text messages from their mobile phones. Thus, our discussion is focused on the space and the mode of participation opened up by new communication technology. Based on our experiences of that project, we introduce and explain what we believe are relations of creative production and a different kind of creativity that may emerge from active interaction. We also attempt to describe what we believe an implementation of active public participation can lead to. We are combining two modes of thinking in this article; one is inspired by a discourse of cultural theories and the other by reflection on our experience of the event. The latter is, by definition, rather subject centred and expansive based on individual observation. We examine and analyse 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.
2. Frisk, H. (2005). etherSound - An interactive sound installation. Spark Festival of Electronic Music and Art, 42–45.

   @inproceedings{Frisk2005b,
     author = {Frisk, Henrik},
     booktitle = {Spark festival of electronic music and art},
     organization = {University of Minnesota},
     pages = {42--45},
     title = {etherSound - An interactive sound installation},
     year = {2005}
   }