Category Archives: Archived Audio

Karlheinz Essl updates Lexikon-Sonate to v. 3.3

Karlheinz Essl is the maker of this fascinating Max MSP generated application. In the first versions on Mac OS9 classic you could see how everything was made and you could obtain your own unlock code for the application to generate midi signals. However, now this app is locked and considered more as an performance art piece from Karlheinz than before.

Lexikon-Sonate is an interactive realtime composition environment for musical composition and live performances. It takes advantage of composition algorithms that has been developed by Karlheinz Essl since 1985. With this algorithmic music generator on can easily create fascinating and complex musical structures on the fly. Furthermore, Lexikon-Sonate is an infinite music installation that can run on a computer for years without repeating itself. Finally, Lexikon-Sonate can be used as an instrument for live performance of electronic music. ref

vs. 3.3 – MacOS X 10.4 – 10.6
released: 22 Dec 2009 (Freeware)

Lexikon-Sonate is a work-in-progress which was started in 1992. Instead of being a composition in which the structure is fixed by notation, it manifests itself as a computer program that composes the piece – or, more precisely: an excerpt of a virtually endless piano piece – in real time. Lexikon-Sonate lacks two characteristics of a traditional piano piece:
there is no pre-composed text to be interpreted, and
there is no need for a pianist or an interpreter.
Instead, the instructions for playing the piano – the indication “which key should be pressed how quickly and held down for how long” – are directly generated by a computer program and transmitted immediately to a player piano (or the built-in Quicktime synthesizer) which executes them.

Navigation map of the electronic Lexikon-Roman
© 1992-98 by Libraries of the Mind

The title Lexikon-Sonate refers to the “Lexikon-Roman”, written in 1968-70 by the Austrian-Slovakian author Andreas Okopenko. This novel appears to be one of the very first literary HyperTexts, independently of Ted Nelson who introduced this term about the same time. This novel – “a sentimental journey to a meeting of exporters in Druden” (subtitle) – consists of several hundred small chapters which were brought into alphabetical order. By reference arrows as in a lexicon the reader could make her own investigations through the multiple nested web structure of the text. Instead of presenting a sequential text with a predefined direction of reading, Okopenko provides a structure of possibilities, which challenges the reader to become a creator of her own version of this novel.
Originally, Lexikon-Sonate was conceived as a musical commentary to an electronic implementation of Okopenko’s “Lexikon-Roman”, carried out by the interdisciplinary group “Libraries of the Mind”. But soon afterwards it started its own life due to its manifold ramifications, becoming an outstanding example in the domain of algorithmic composition. ref

The audio contains a demo, some reverb has been applied…

backup at

Radical Thinking – Broadcast Culture – Coverage 2007/2008 Sessions

This post includes coverage of the 2007/2008 sessions of the Radical Thinking – Broadcast Culture that I recorded and released on

An international lecture series tracing artists’ involvement with history, politics, and popular culture through the use of film and broadcast media. Each evening includes a film screening and a talk by the artist.
Organised by Timeline Konstfacks Videotek, Mejan, KHS Umeå. A collaboration between Marysia Lewandowska, Hinrich Sachs and Florian Zeyfang. Thanks to Kulturhuset.

Eva Meyer and Eran Schaerf 16-04-08

The internationally renowned artists Eva Meyer and Eran Schaerf have been working collaboratively with video and radio plays since 1997. They investigate localities, language, narratives in order to propose alternative time and space structures for the self and the other(s). She Might Belong to You, 2007, their 37 min. film created for Skulptur Projekte Münster, will be shown for the first time in a context of an auditorium, followed by a discussion with the artists.


Artur Zmijewski 05-03-08

Shown for the first time during the Venice Biennale, 2005 film Repetition by artist Artur Zmijewski (PL) reconstructs the conditions of the Stanford Prison Experiment from 1971 studying behaviour of inmates and guards. In many of the artists’ works events of the past are scrutinized again often revealing processes of victimization and social exclusion. Using some of the documentary film tropes Zmijewskiâs works occupy a terrain charged with provocative questions as well as complex emotions. He directly implicates his viewers in the politics of representation.


Erik Pauser 20-02-08

Screening of production material from the upcoming “The face of the enemy” Exploring conflict. In the face of representation. Stockholm based artist and filmmaker Erik Pauser has been exploring conflicting representations of history through his long term project dealing with the legacy  of the war in Vietnam. Over five million Vietnamese died in what one side calls the American War and the other side calls the Vietnam War. The installation and film project The Face of the Enemy is constructed out of 200 hours of interviews with Vietnamese war veterans and civilians and tries to unravel the conflict through first hand accounts of the Vietnamese that fought in The American war. His talk centres around screening of excerpts of the work in progress and questions how history is told, edited and explored through the medium of film.


Maciej Drygas 12-12-07

In his first visit to Stockholm, the polish documentary film maker Maciej Drygas known for his commitment to long term research projects, often using archival footage, will present and talk about his film The State of Weightlessness/Stan niewazkosci, 1994, a tender portrait of the cosmonauts and a critical reading of the conditions imposed upon them by the Russian space programme under communism. All his films contain an ethical dimension in both the treatment of found sources and themes which picture a dilemma between individual lives and historical forces.

Judith Hopf 21-11-07

The Crossing Occurs at Night
The Berlin based artist Judith Hopf will present Hospital Bone Dance (2006) in a Swedish premiere screening. Hopf has produced video works, marked by humour and wit exploring clear political agendas.


John Akomfrah 31-10-07

Signs of Empire
This is a rare opportunity to hear John Akomfrah introducing the work of the Black Audio Film Collective formed in 1982 in London. The Collective produced some of the most experimental documentaries in Britain in the 80s and 90s. They have profoundly influenced contemporary avant-garde filmmakers and artist. Screening includes Handsworth Songs, 1986, 60min.

CD Release – Music Box Music – Recorded at Tekniska Museet 2007

Recordings from some discs connected played on a Polyphon Music Box, (made app. 1850)

Recorded 6th November 2007 at Tekniska Museet, Stockholm, Sweden

With initiative from Ulrika Casselbrant and Randi Berger

And great thanks all staff at:

see also their page for mobile phone signals made from my recordings!

some releases from the mp3s of these tracks are also available at the open music archive:

a small notice on the mobile phone tracks was shown in the latest  SJ-magazine Kupé (Feb 2008):

Digital CD release March 30 2008
Release formats: Mp3, Aiff 16 bit, Aiff 24 bit, Wav 16bit, Wav 24bit, FLAC 16 bit, Audio CD Disc Image Bin/Cue


Full releases at

Episode #3 of Archived Audio Documents: Studies of a Prepared Piano #2, Salsbro (1995)

In 1995 I was spending a half year lonely on the countryside. A left over house from my grandma with lots of the original 40’s furniture, and a piano out of tune.Heavily inspired by Stockhausen, Zen, John Cage, Morton Feldman and Jazz, I studied the timbre and spatial-ness of the sounds from this old piano. All recorded by improper lo-fi equipment to an old reel Tandberg (with valves) and a dynamic microphone made for signing. Some strings in the piano were also prepared.

a summer day, Salsbro, 1995. photo: Tomas Nygren

At this house we spent many summer holidays, maybe the best summer experiences in my childhood.

This is the second episode of the total 3 tracks recorded from these sessions.

my brother Stefan Nygren standing inside one of the closest hay barns (1993)
photo: Tomas Nygren

audio backup at

Placing Art In The Public Realm. Symposium 28 Sept 2007 at Konstfack

Radical Style of Graffiti Removal
The Subconscious Art of Graffiti Removal – 2001 by film maker Matt McCromick

Banksy and a nice Mona Lisa interpretation

In the need of making the art institutions as advanced as other established institutions one have to conduct some relevant research.* The Symphosium “Placing Art In The Public Realm” can be seen as an initiative-family to take us to the next step into this realm.

info pdf about the symposium here

the day two of the symposium 28/9 launched:

Katya Sander is an artist and writer, lives and works in Copenhagen and Berlin. In her work, she questions issues of space, narration, desire and order through film, text, architecture, constructions and interventions.

Sander presented a long lecure. maybe too long.. ..a dilemma that is common but not so often is prevented. Focusing on the media and the male publicity of the “I” she presented some interesting topics in how media controlled structures and pre-set rules around this apparatus shape our way to think about the public and the “outer world”.

Jacob Kimvall (art critic and graffiti artist) had a personalized perspective on his presentation which worked pretty well I must say. Mainly maybe due to the limited access most people have to the the graffiti scene and the importance of credibility of the sender.

Kimvall defended, in his well put together presentation, the value-clash between street art and graffiti which has also some grounds in the iconoclastic attitudes and the use of images or texts as effective carriers of the intended message. Where the metaphor-image-driven messages make street art sweet and belonging to the public, graffiti is made to stand against in using a stylistic-textual identifying message from the sender.

I felt that the common notion that graffiti’s more pop-design in comparison to street arts’ conceptual and self-reflective intentions was not directly disputed. A more psychological trans-rational approach would maybe be more fruitful to understand the spectrum of graffiti and how it interacts with the public. Some graffiti as an outcome of mostly young people might even have bio-social reasons for its purpose i.e. marking your territory with tags. Eventually these men grow up from this tribal-structure and transcend into the artistic domain were we can distill the artistic ideas originated from styles, identity, revolt and territory. However.. “Graffiti is most comfortable and appropriate slapped where it shouldn’t be” as Prime puts it..
The counter movement: graffiti-removers often target eyes with their white paint. Within his talk he showed a cool movie about the aesthetically interesting dilemmas in the non-aware artistic production of graffiti removal by film maker Matt McCromick. One can read his C/Candidate-thesis on “Skadegörelse klotter nedskräpning förbjuden: Graffitiborttagning som ikonoklasm” here (SWE)

Another nice text about Graffiti: Varför riskera fängelse för ett brott som inte lönar sig? by Andreas Thors get it here

Jennifer González is Associate Professor of History of Art and Visual Culture at the University of California, Santa Cruz. Her writings have appeared in Frieze, Diacritics, Inscriptions, Art Journal, and Bomb. Her essays on race and digital culture have appeared in The Cyborg Handbook and Race in Cyberspace.

Shuddhabrata Sengupta from Raqs Media Collective. Based in Delhi, their work engages with urban spaces and global circuits, persistently welding a sharp, edgily contemporary sense of what it means to lay claim to the world from the streets of Delhi.

Nina Möntmann, is a curator and writer. Her recent projects focus on the changing conditions of art institutions, models of relationality in art and institutional practice, the role of communities as social entities of the public sphere, and artist collectives in the Southern Hemisphere. She has been curator at the Nordic Institute for Contemporary Art (NIFCA), in Helsinki from 2003-2006.

As the moderator, she played a somewhat anonymous role in the discussion. I wish she would have polarized a little bit more and act as more as an engine to build up the final.

*If the research is within i.e. the social domain (exterior measures) its highly possible to conduct experiments to prove the hypothesis.

The podcast contains the panel discussion.

audio backup at