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  • 1.
    Frisk, Henrik
    Royal College of Music in Stockholm, Department of Composition and Conducting.
    ArtDoc - an Experimental Archive and a Tool for Artistic Research2017Conference paper (Refereed)
    Abstract [en]

    ArtDoc is an experimental database and archive for primarily

    documentation of artistic content. It attempts to address the question

    of the diculty of documenting artistic practice in a manner that makes

    visible the processes in action. The background to this project is discussed

    and the theory behind the development of open works. Though

    ArtDoc is still under construction the foundation of the archive is presented.

    Finally some thoughts on the future of digital documentation

    systems is discussed.

  • 2.
    Frisk, Henrik
    Royal College of Music in Stockholm, Department of Composition and Conducting.
    Hell is full of musical amateurs, but so is heaven2017In: Seismograf, ISSN 2245-4705Article in journal (Refereed)
    Abstract [en]

    Today, whenwe think of musical performance inWestern 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 interpretative–simultaneously. 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 ofWestern music

    into new aesthetic areas.

  • 3.
    Frisk, Henrik
    et al.
    Royal College of Music in Stockholm, Department of Composition and Conducting.
    Nguyen, Thanh Thuy
    Lunds Universitet, Musikhögskolan i Malmö.
    Found in translation2019In: Seismograf (https://seismograf.org)Article in journal (Refereed)
    Abstract [en]

    This audio paper is an exploration of part of the process of making Drinking (2014) -

    a piece for voice, Vietnamese zither .àn tranh, and electronics. The composition is developed

    from composer William Brook’s project After Yeats in which Brooks provides

    an instruction describing a collaboration between a performer and a composer. After

    Yeats is not itself a composition, but should rather be seen as a method with which a

    composer and a performer may realize a score (Brooks 2013). At the outset the chosen

    poem–A Drinking Song by William B. Yeats in a translation to Vietnamese, the native

    language of Nguyen Thanh Thuy–was recited, and it was the sonic trace of the reading

    that was the point of departure for the composition Drinking. In this case the meaning

    of the words is of less signicance than the sound of the reading. After Yeats is in

    some ways an attempt to revive the tradition of chanting poems to a lyre accompaniment

    common in the practice of Yeats and his contemporaries. Henrik Frisk, a Swedish

    composer, takes the recording of the reading and, according to the instructions in After

    Yeats,works to compose the piece according to the implications of the declamation from

    Nguyen’s reading. According toMarcel Cobussen, "listening also involves an opening of

    the senses that is not necessarily enfolded in conscious meaningfulness, by sense. It also

    takes place outside, before or beyond sense; it also refers to a sense that operates outside,

    before or beyond signication" (Cobussen 2008: p. 131). The emotional responses that

    arise from engaging in artistic practice operate in similar ways to how Cobussen situates

    listening in a space beyond signication. They may be communicated and sometimes

    brought to the fore, but they always have a tendency to appear mysterious, arcane and

    ephemeral. The inuence by the many diferent kinds of agents that may be found in

    Brooks’ meta-composition makes the creative process daunting to understand but is also

    wrapped around the idea of what is to be found outside, before and beyond.

  • 4.
    Frisk, Henrik (Composer, Musician)
    Royal College of Music in Stockholm, Department of Composition and Conducting.
    Elberling, Anders (Cinematographer)
    Machinic Propositions2018Artistic output (Refereed)
    Abstract [en]

    Machinic propositions is an artistic project and an attempt tocritically examine Deleuze and Guattari's theorems ofdeterritorialization as found in chapter seven and ten of their seminalbook A Thousand Plateaus (Deleuze & Guattari, 1980).

    The artistic method is one where conceptual deduction and improvisationplay central roles. It has grown out of our thinking about contemporarymedia and our attempts to critically examine both our own pro-technicalapproach and the hyper media-landscape we live in. This method wasdeveloped based on our artistic ideas, the needs of the projects weengage in and the conditions of our respective practices. At the core ofour work lies the attempt to deconstruct the relationship between soundand image. Our work process is slow, and the work on the present projectbegan in 2016 and is likely to continue in the future.

    There are interesting parallels between the way we work, and the ideaput forward by Deleuze of style as the ability to "stammer in one's ownlanguage". Our working process is situated in the attempt to stutter in"language" while avoiding it in "speech".

    The modes of synchronization that have become central to our works willbe further explored through the modes of thinking relating to thetheorems introduced by D\&G. There are however, many points ofentry. The systems of de/re-territorialization in this context areinterpreted as attempts to detach both sound and image from their highlydefined modes of engagement. Not in order for them to merge into one,but to become what may be described as the opposite of a couple.

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