17 October
Tone Åse & Sten Sandell - Voices in between

In their artistic research projects, Tone Åse and Sten Sandell have each explored connections, spaces and transitions in voice/text/sound/music. As artistic material, the voice operates in a continuum between meaningful and sonic instrument, and is also a part of a symbiosis with the instruments, for Åse with he electronics, for Sten with the grand piano. They explore concrete and abstract linguistics ans meaning as human imprints and touching elements in musical and sonic landscapes, here in a free improvisation from the concert «Voices in between», Dokkhuset, Trondheim April 2019.

17 October
Annett Busch, David Rych – Electronic Textures 2016-2019 / KIT

It was Kodwo Eshun who drew our attention to The Black Liberator—a journal, literally invisible online, misleading with it's generic title. Eshun remembered it as something important to a young John Akomfrah, who as a seventeen-year-old attended a study group run by its editor in Brixton circa 1974/75. […] We could also take The Black Liberator and its active community of young readers reading Louis Althusser to explore French Marxist’s writings, but branch off via Georgi Plekhanov, the Russian critic who comes up as a crucial reference in Althusser's texts, with a shortcut towards Dakar. As it happens, Plekhanov (1856-1918) was quite well known in Senegal in the 1970s, through Issa Samb's Laboratoire Agit' Art. Samb made use of Plekhanov's Art and Social Life, written in 1912 and republished in 1974, in support of his own efforts against the official object-bound understanding of art promoted by the regime of president Leopold Senghor. Once this connection is made between London and Dakar, we are already also close to Ousmane Sembène, poet, novelist, and filmmaker, and yet another little magazine, Kaddu, which shares a precise life-span with The Black Liberator(both 1971-1978). Kaddu, co-founded by Sembène and the linguist Pathé Diagne, was the first journal published in Wolof; the name means letter, but also speech and word, as well as thunder.

Clip 03: Kodwo Eshun continues the conversation with John Akomfrah about The Black Liberator—theoretical and discussion journal of black revolution(1971-78), founded by editor AX Cambridge in London. Michael C. Vazquez on The New African (1962-1969), founded by Randolph Vigne and James Currey and published out of Cape Town.

16 October
Lokomotiv/In the real world

The Jazz course at NTNU – Department of Music is known to produce recognized performers within jazz, pop, rock and different forms of contemporary music. Every year the 2nd year students produce their own tour, where they not only make the musical content, but also book the concerts and organize all the practical issues. In this documentary we meet both students and teachers who talk about how becoming a musician is a lot more than performing music.

16 October
Annett Busch, David Rych – Electronic Textures 2016-2019 / KIT

Imagine the editor being a Third World vanguard person…. The way of putting knowledge into words, the talking, triggered my interest in these Congress for Cultural Freedom-funded South African magazines—Africa South (1956–1961), The New African (1962–1969), The Classic (1963–1971). And even more, the storylines about their editors, their specific in-betweenness, and what this position might produce. Imagine the editor being a collaborator, a facilitator, an orchestrating driving force whose labor shapes but disappears in the work of others, hardly traceable in the end. Who entered the network, how, and when?You treat the complexities of the funding issue with an excessive attention to details, through people and their trajectories, and not through, let’s say, ideological questions. This background-foreground shifting changes the focus of attention and politics. To openly address the conditions of production, to set the frame, but to avoid making judgements by unceasingly complicating the question of taking sides. (Annett Busch)

Clip 02: Michael C. Vazquez (former editor of Transition Magazine 1995-2006) on The Classic (1963-1971), founded by Nat Nakasa, published out of Johannesburg. Kodwo Eshun, again on TransitionMagazine and among other writers the poet Christopher Okigbo. Nida Ghouse on Lotus—Afro Asian Writings (1968-1989).

15 October
Michael Duch – Jeremy Welsh: Horse sings from cloud

Horse sings from cloud by Pauline Oliveros is part of a trilogy of works produced by Michael Duch and Jeremy Welsh focusing on minimalist experimental music that challenges the perception of time. Mind is Moving IV by Michael Pisaro is currently showing at Nordenfjeldske Kunstmuseum and will be released on vinyl on the Norwegian record label SOFA later this year. Opus 17a by Hanne Darboven is currently showing at Bundeskunsthalle in Bonn, and has previously been shown in Vienna at Mumok. Michael Duch is a professor at the Department of Music and Jeremy Welsh former professor at Trondheim Academy of Fine Art.

15 October
Annett Busch, David Rych – Electronic Textures 2016-2019 / KIT

Electronic Textures reads, revisited and curated concepts of art, Cold War politics, and history through an encounter with Pan-African magazines published from the mid-1950s to the mid-1980s. All the detours that emerge with every new reading, add to a biography of research, which is changing, depending on who is reading - and which question the reader has in mind. These are the grounds for a collaborative research practice, which doesn't seek to construct one narrative alone, and which preserves the need and the framework for many, sometimes contradictory storylines. But then also suggests a form—a collage, puzzle, map, web—that allows to bring forward these possibilities and connections to the surface, to exhibit them, setting the footnotes loose and not smothering them with interpretation. A form unfinished by nature.

Clip 01: Kodwo Eshun on TransitionMagazine, established in 1961 by Rajat Neogy in Kampala, Uganda, and has been revived in 1991 in the USA out of the Hutchins Center at Harvard University. Kodwo Eshun in conversation with John Akomfrah about The Black Liberator —theoretical and discussion journal of black revolution (1971-78), founded by editor AX Cambridge in London. All talks, lectures, conversations were recorded during a workshop in March 2016, collages and sound-edit by Annett Busch.

14 October
Ellen Lindquist ‐ Mantra

Mantra by Ellen Lindquist is a piece for solo gamelan and sinfonietta, commissioned by Espen Aalberg and the Trondheim Sinfonietta. The word mantra comes originally from Sanskrit; a simple idea (word, sound or phrase) repeated over and over, used to enter a meditative state, the very repetition aiding concentration. In Mantra this concept exists fractally on several overlapping layers of time, manifesting as everything from a single event, to a short phrase, to the solo gong melody stretched over the length of the piece. Material for Mantra was developed using spectral analysis of the six large hanging gongs in the instrument collection, to which the sinfonietta itself is "tuned", requiring intensely focused listening from the entire ensemble.

14 October
INTERPRT - LIVING EVIDENCE, 2019

INTERPRT (Nabil Ahmed, Olga Lučko, Filip Wesolwoski, Svitlana Lavrenchuk): LIVING EVIDENCE, 2019 The ‘Waldlager’ (forest camp) in Rzuchowski Forest near the village of Chełmno nad Nerem in present day Poland was the first Nazi German death camp where scientifc methods of mass killing were first tried. In the first stage of the camp’s operation (1941-1943) industrial wood furnaces to incinerate bodies and a secret reforestation program were put to use in order to hide the evidence of mass graves. The program's purpose was not only to hide the evidence of the camp's existence but also to disappear the traces of those victims whose bones were crushed to dust turning Rzuchowski forest into living evidence. Building on archival research, historical aerial imagery analysis and existing archeological works we undertook a field examination using airborne laser scanning (LIDAR) which is the first of such survey of the Chelmno forest camp holocaust site. The survey generated precise, three dimensional information about the shape of the earth and its surface characteristics. We derived a digital elevation model (DTM) of the site, after removing the vegetation revealing many features at the site of the reforestation program that will require on-site verification.

13. oktober
Leiv Igor Devold: THE ACCIDENTAL ROCK STAR

Leiv Igor Devold: THE ACCIDENTAL ROCK STAR
2015, 88 min, documentary

13 October
Martinus Suijkerbuij: ‘Pater_Noster_2020’

In response to the emergencies of the New Normal, this exhibition went through an update. The visitor finds itself present as subject and observer of a simulated surveillance state. In the exhibition facial recognition algorithms extract and compute emotional profiles of the visitors which are then processed into characters (BB_Worker) of a 3-channel gaming engine. An AI surveillance system displays, detects, calculates, and predicts the collective- and individual interactions of the BB_Workers. The gaming engine is an adjusted version of Joshua Epstein’s computational model of Civil Violence (2002).

13 October
Håkon Magnar Skogstad – Playing in the Manner of Ricardo Viñes

Playing in the Manner of Ricardo Viñes is an artistic research project where Håkon Skogstad uses a method of extreme imitation – recreating historical recordings to evoke a romantic pianistic performance tradition in classical music. Ricardo Viñes was one of the leading pianists in Paris around 1900 and premiered a substantial amount of compositions including the majority of piano works by Debussy and Ravel. In his recordings we hear a language in music that is almost lost in modern day performances. The purpose of recreating the original recordings is to study, learn and revive this language to shed light on aspects of performance practice, as well as to develop new ways to interpret repertoire – old and new.

12 October
MARI BASTASHEVSKI: TERRA INCOGNITA 2019-2020

This project is a cross-disciplinary research project positioned between artistic research and media ethology. It deploys emerging visual technologies of seeing - such as VR - as a means for world-making with the intention of exploring whether the relationship between human, other-than-human animals, and technology are transmemetic: i.e. codependent and perpetually evolving. This project aims to determine how we might conceive of such relationships and incorporate them into artistic eco-fictions that can expand, and revise the understanding of the position of humans in an expanding ecology of cognition, as well as tracing historical moments of fixing or opening up ideas of what can be human/animal/tech.

12 October
Øyvind Brandtsegg – Nancarrow Biotope: Piano studies

Conlon Nancarrow (1912– 1997) is well known for his studies for Player Piano, as the intricate compositions would often exceed human performer limitations. In this project Nancarrow’s Piano Studies are orchestrated for Pipe Organ, Disklavier and electronics by Øyvind Brandtsegg. The work with the Nancarrow Studies also instigated further exploration of improvisation with these mechanic instruments in combination with improvisation software written by Brandtsegg.