Filtyp
This article is about my electroacoustic, multichannel work, Norra bantorget, composed in 2013, and premiered that year at Audiorama. The work addresses the psychogeography of Stockholm, and specifically the square at the site of the old central station.
Soundwalking has its roots as a meditative practice, engaged with ecological concerns. Its origin in R. Murray Schafer's work imbibes it with longing for environments free of industrial sound, and Pauline Oliveros' sound-walking practice seeks the subtle emerging from the silence. Although these progenitors of what we call soundwalking offer us a wonderful palette of listening and walking practice
This open access book explores the increasing role of psychoactive substances in contemporary everyday life, focussing on women's use. Drawing on an ethnographic study in Sweden, it uses cultural studies and queer phenomenology to analyse the women’s narratives of drug use relating to themes that encompass social, legal, cultural, embodied and gendered perspectives on drugs in the contemporary Wes
Five improvisation/compositions for solo violin:I. Fågel/BirdII. Sun/SolIII. Sten/StoneIV. Yes!/Ja!V. Stålträd/WireThese pieces are made for Stockholm, using field recordings, birds and solar data from the city as objects of aural transposition.
Casey Moir arranged this event in her neighborhood of Bredäng. It was a sound walk, punctuated with improvised music performances. First we encountered Moir, who worked with voice and objects in a pedestrian tunnel, blending unexpectedly and marvelously with a family fair going on nearby. Then we went up a granite hill to listen to Finn Loxbo play extended acoustic guitar, contemplative and still
x.1 fixed media composition. 2016. Made from recordings of pipe organs in the Music Academy, Buchla and Serge synthesizers at EMS and KMH. 15:00. PLEASE NOTE this is a headphone version of the piece. It will not play properly in speakers. Multichannel files for the piece are available from the composer on request.
x.1 fixed media composition. 2017. This piece is made from field recordings of Stockholm and Buchla at KMH. 21:00. PLEASE NOTE that this is a Headphone version; it will not play properly in speakers. Multichannel files for the work are available from the composer on request.
This is a text-sound-composition work made in Ambisonics. It was commissioned by Audiorama and PULS, for a concert curated by composer Trond Lossius, at Østre gallery in Bergen, in 2019. IMPORTANT: This is a headphone version of the work, and will not play properly in stereo speakers. Files for multichannel performance are available on request.Ambisonics fixed media composition. 2020. 14:00. PLEASE NOTE this is a Headphone version. It will not play properly in speakers. Multi-channel speaker versions of the piece are available from the composer on request.
This is a work for solo violin improvisation, four radios, four radio transmitters, and a four track fixed-media sound collage made from field recordings and eurorack synthesizers. This performance was at the one-night festival Sonotopia, put on by those of us who took the Sound Art as Critical Practice course at Stockholm University for the Arts in January of 2019. The film was made by Girilal Ba
Fixed Media, Mixer DIffusion, Violin and Voice created for irregular 47.2 channel system. 2018. PLEASE NOTE this is a Headphone version of the piece. It will not play properly in speakers. A reduced, multi-track version of the tape part is available from the composer on request.
Deuterium quartet (Bruno Andersen - vevlira, Lisa Gerholm - Nyckelharpa, Fredric Bergström - vevlira, Katt Hernandez - F# violin) playing a composition/improvisation structure in Mimerlaven, at the Norberg festival. Tis work was made collaboratively.
Deuterium (Lisa Gerholm - Nyckelharpa, Bruno Andersen - vevlira and Katt Hernandez - F# violin) performing a composition/improvisation in the Dome of Visions when it was at KTH in Stockholm. This work was made collaboratively.
Deuterium (Bruno Andersen - vevlira and Katt Hernandez - F# violin) performing a composition/improvisation at a former industrial building that was about to be rebuilt as condominiums at Virkesvägen 3 in Stockholm. This work was made collaboratively.
This is a collaborative composition/improvisation made for organist Karin Johansson. Since Johansson combined her work with me with a project she was doing about choral preludes, both recordings feature segues between Ghost Prelude and some of the choral preludes she was working on. This is a collaborative work.
Ghost Installation: Tomteboda is one of several "Ghost Installation" compositions in the project. Using small, consumer grade speakers and looping sound collage files, these sound installation compositions are placed in multichannel arrays into the sites they address. Ghost Installation: Tomteboda was carried out at the site of a former community garden, outside the Tomteboda post terminal buildin
Ghost Installation: is one of several "Ghost Installation" compositions in the project. Using small, consumer grade speakers and looping sound collage files, these sound installation compositions are placed in multichannel arrays into the sites they address. This installation was created for the one day Sonotopia festival, put on by students in the Sound Art as Critical Practice course at Stockhol
Ghost Installation: Internationella biblioteket is one of several "Ghost Installation" compositions in the project. Using small, consumer grade speakers and looping sound collage files, these sound installation compositions are placed in multichannel arrays into the sites they address. This piece was installed beside the former site of the Stockholm International Library. The library was closed in
New antimicrobial agents are needed to address the ever-growing risk of bacterial resistance, particularly for methicillin- and vancomycin-resistant Staphylococcus aureus (S. aureus). Here, we report a class of bile acid oligomers as facial amphiphilic antimicrobials, which are noncovalently fabricated by cholic acid (CA) and deoxycholic acid (DCA) with polyamines (e.g., diamines, diethylenetriami
Can wealth shocks have intergenerational health consequences? We use the partial compensation slaveholders received after the 1834 slave emancipation in the British Cape Colony to measure the intergenerational effects of a wealth loss on longevity. We find that a greater loss of slave wealth shortened the lifespans of the generation of slaveholders that experienced the shock albeit these effects are
