Departing from the artistic research project Goodbye Intuition(GI) hosted by the Norwegian Academy of Music in Oslo, thisarticle 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, willobviously reveal the weaknesses of the system, but it will alsoconvey part of the preconditions and aesthetic frameworks thatthe human improviser brings to the table. If we want theautonomous system to have the same kind of freedom wecommonly value in human players’ improvisational practice,are we prepared to accept that it may develop in a directionthat departs from our original aesthetical ambitions? Theanalyses is based on some of the documented interplay betweenthe musicians in a group in workshops and laboratories. Thequestion of what constitutes an ethical relationship in this kindof improvisation is briefly discussed. The aspect of embodimentemerges as a central obstacle in the development of musicalimprovisation with machines.

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.

Recension av Elif Balkirs avhandling.

Marina Pereira Cyrinos avhandling An inexplicable hunger: flutist)body(flute (dis)encounters lades fram vid Göteborgs universitet den 3 april 2019. Opponent var Catherine Laws, pianist och musikvetare vid University of York. Avhandlingen består av en bok och hela tio videor som på olika sätt dokumenterar de fem verk som avhandlingen innefattar. Boken är uppdelad i två delar varav den första fungerar som ett slags kappa, en på ett sätt fristående essä, som inte desto mindre ringar in forskningen. Den andra delen diskuterar de konstnärliga verken under rubrikerna Nocttuidae, Noctuoidea, Is she?, An aeroelastic flutter, Inside-out pastoral, Check out my w/holes.

I denna presentation kommer jag diskutera ett samarbete mellan KMH (Kungl. Musikhögskolan) och KTH (Kungl. Tekniska Högskolan) som initierades 2016. En av målsättningarna var att bygga upp en forskningsmiljö i nära interaktion med grundutbildningen samt att möjliggöra en gemensam forskarutbildning. Programmet vände sig till anställda lärare på KMH som hade intresse för forskning. De lärare som blev antagna fortsatte arbeta på 50% som lärare samtidigt som de följde forskarutbildningen på KTH. Samtliga fyra doktorander hittills har involverat sina studenter i sin forskning, som en integrerad del av kurserna de undervisar. Studenterna har på så vis bidragit till forskningen vilket i sin tur har lett till en acceptans, forskningsmedvetenhet och intresse hos studenterna. Härutöver har det påverkat kusrsplaneutveckling inom de ämnen som det rör.

Den konstnärliga forskningen i musik har haft en stark utveckling i Skandinavien under de senaste 20-30 åren. En anledning till framgången är att det relativt begränsade antalet platser har gått till etablerade musiker. Att studenter går från grundutbildning till forskarutbildning direkt är ovanligt, om ens möjligt. Fördelen med detta är att forskarutbildningen inte har behövt koncentrera sig på den konstnärliga delen, utan istället mer på hur detta kan gestaltas som forskning. Nackdelen är att kopplingen mellan grundutbildning och forskning inte har beaktats i tillräckligt stor utsträckning. Forskarutbildningen har skett i ett spår för sig och grundutbildningen har inte sett sig ha behov av den typen av kunskapsbildning som doktoranderna ofta intresserar sig för. Detta skapar flera utmaningar, inte minst som den konstnärliga akademin fortfarande på vissa ställen befinner sig i en konfliktliknande relation till det akademiska och akademiseringen ses som ett hot. Lösningen på den situationen är inte att akademisera det som ännu inte är akademiserat. Istället bör vi sträva efter att å ena sidan göra forskningsresultat användbara i konstnärlig undervisning, och å andra sidan skapa miljöer i vilka även konstnärlig praktik i, och för sig själv, ses som potentiella forskningsresultat.

Konstnärlig forskning har haft en dynamisk och positiv utveckling de senaste tjugo åren,men vägen är fortfarande ojämn och lite knagglig: På ett bredare plan finns det relativtlite kunskap om vad det egentligen är, även på vissa konstnärliga högskolor och likasåfinns det fortfarande frågor kring vad den kan bidra med. Man kan förvisso fråga sig omkunskapen om till exempel den sociologiska eller antropologiska forskningens metoderoch resultat i allmänhet är större, eller om det finns en bredare insikt i på vilket sättforskning i, säg, fysik bidrar till samhällets utveckling. Dessa exempel på forskningsdis-cipliner är dock uppenbart politiskt och kulturellt mer etablerade på ett sätt som denkonstnärliga forskningen inte är, varför okunskapen är ett större problem i dessa fält äni andra.

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.

This video essay addresses the role of Nhac Vang (Yellow Music) - a form of Vietnamesepopular music - in identity formation among Vietnamese women in diaspora. Several importantstudies have been made of the role of music in Vietnamese immigrants (Cunningham &Nguyen, 1999; Reyes, 1999), but not specifically in Scandinavia. Cunningham & Nguyen(1999), in a study of the role of music and media in the formation of cultural identity amongVietnamese immigrants in Australia note “the felt need to maintain pre-revolutionary Vietnameseheritage and traditions; find a negotiated place within a more mainstreamed culture; or engagein the formation of distinct hybrid identities around the appropriation of dominant Westernpopular cultural forms” (p. 77).Building on interviews with Vietnamese women in diaspora in Scandinavia, the essayconstitutes initial preliminary results of Nguyen’s postdoctoral project. The project seeks adeeper understanding of the role of music in the negotiation of identity among Vietnameseimmigrants. The music in the video essay is composed through remote interaction betweenmembers of The Six Tones and other Vietnamese performers. The making of the music and thevarious constraints that the format of networked performance imposes is also discussed as partof the proposed paper.

As the Covid-19 pandemic continues to affect individual musicians, ensembles and concert institutions, streaming technology has become a central vehicle through which musicians and audiences can meet.  But this forced move to digital presence also suggests new possibilities, beyond the ongoing coronavirus pandemic. This paper discusses how networked performance, a format which has engaged artists for decades as an artform in its own right, may also contribute to the sustaining of cultural heritage among migrant/minority communities as well as to the development of innovative intercultural artistic practices. Building on the experience of our group, The Six Tones, as well as on research carried out by Roger Mills (2019) and Ximena Alarcón Diaz, we wish to develop a more robust understanding of the possibilities, and the limitations, that networked technology affords. The central source of our own work is drawn from Musical Transformations, an ongoing project which studies the intersection between traditional and experimental music in globalized society. We address the role of social interaction in the practice for intercultural collaboration, developed by The Six Tones since 2006, and discuss how such interactions are made difficult when collaborating through mediation of digital technology. In this context we believe that it is possible to also study what the limitations that the technologies impose and what the nature of these limitations amount to. Such a study may be useful also in other areas of digital interaction. Qualitative analysis of video documentation from rehearsals and performances constitute the foundation for the study. In the presentations we further discuss the projected creation of a scene for intercultural exchange at Manzi Art Space in Hanoi, with reference to the first networked performance carried out live on a scene in Hanoi on July 12, 2020, curated by The Six Tones at Manzi. This project situates the discussion even more immediately in the current developments of music culture at the time of the pandemic. The presentation, by the four authors, is supplemented with video from networked performances, as well as interviews with the group and guest performers documented on video. 

Écouter l’autre : cette phrase soulève un nombre incalculable de questions. Apprendre à écouter ceux avec qui l’on joue est un des aspects essentiels de la pratique de l’improvisation, mais, par expérience, je pense que la tâche la plus difficile est de s’écouter soi-même. Écouter l’autre tout en jouant ne veut évidemment pas dire qu’il faille complètement renoncer à sa propre identité, ni devenir comme l’autre, mais s’accorder ou entrer en résonance avec l’autre. C’est dans l’interaction entre plusieurs personnes (deux ou plus) que se déroule l’improvisation ouverte et sans attaches, dans un jeu qui se situe entre s’ajuster à ce que fait l’autre et s’écouter soi-même. Dans cet article, ma pratique artistique au sein d’un groupe suédois-vietnamien The Six Tones sert de contexte pour aborder quelques aspects de la question du moi [self] et de l’autre, en utilisant trois concepts, chacun exerçant une profonde influence sur le moi [self] : la liberté, l’habitude et l’individualité. Je n’aborderai ces concepts, si vastes et profonds, que dans un contexte relativement limité et tourné vers la pratique.

 One of the great challenges of any research project that spans over several years is to keep the project contained and avoid it from going off in directions less useful for answering the questions posed. Yet, it has to be open enough to allow for unexpected findings in the fringes of the practice. This is especially true of artistic research projects, as they have a tendency to be interdisciplinary and sometimes broad-brushed, which in fact may be seen as one of the qualities of the field. Furthermore, the artistic practice and its contexts, which may sometimes itself be difficult to delimit, are at least at the outset the original bounds of an artistic research project. The difficulties, however, remains to know when a trajectory should be given up or stayed with: When is this particular issue exhausted in the context of the project? It is through method development that a field of research practice can evolve, and we, as artists and researchers, can learn to become better at making those decisions.

In this panel discussion we address the theme of  “Working together” in relation to the following question: How can intersubjective understanding and new knowledge be drawn from artistic collaboration? The presentation explores the method of stimulated recall, such as it has been used and developed within the work of the Vietnamese/Swedish group The Six Tones.

The group was created in 2006 and in 2009, the group took part in their first artistic research project, (re)thinking Improvisation. As part of their work in the project, the group studied their interactions through stimulated recall, using video documentation of rehearsals and performances as a source. The material recorded in 2009 has been coded and re-coded in several periods across the years, and most recently in 2019, when creating a new analysis of the working process for a chapter in Stefan Östersjö’s book Listening To The Other (2020).

The structure of the panel is based on sharing materials from earlier work of the group, in the form of video clips and parts of analysis produced. We provide a background to qualitative analysis of video through stimulated recall in music research, but the panel first and foremost aims to create a dialogue with the participants in the conference on these perspectives on knowledge and methods in artistic research. Video clips from previous analysis and earlier coding and annotations, as well as more extended analytical approaches will be presented, also by the participants in the panel again viewing some of these source videos and reflecting on them, thereby enacting a stimulated recall session. 

How can the collaborative methods that we developed through (re)thinking Improvisation be understood, in terms of the broader context of music scholarship, as innovative forms of knowledge development? Since the time of Pythagoras and Plato, scholars have theorized ways that the communicative nature of musical sound might best be explained. Even since Medieval times, empirical studies of music, such as those documented by Al Farabi in Kitab al-Musiqa al-Kabir (The Great Book of Music), were deemed sufficiently important to constitute a distinct field, ultimately known as musicology, resulting in a division of music studies into musica practica and musica theoretica with its bifurcation of performers and theorists. From the late 19th century, many empirical researchers emphasized behavioral approaches, with a focus on documentation of the array of precise measurable actions connected to musical activity. Such approaches have produced many important insights, yet do not take into account the perceptions and experiences of performers. Other kinds of researchers, such as ethnographers and phenomenologists, made extensive use of interviews, sometimes in combination with observations. Interviews lead to insights of a different kind, but are notoriously unreliable for an array of reasons, including personal biases and tainted interpretations, self-censorship, memory issues, and researcher effects. The historical division of musica practica and musica theoretica started to be directly challenged in the mid-20th century with the rise of the “bimusicality” movement among ethnomusicologists, and – a few decades later later—the “artistic research” movement among academic artists of all kinds, as artistic and academic projects were increasingly intertwined, resulting in new perspectives regarding what counts as musical knowledge. It is within the context of artistic research and ethnomusicology that our project has introduced applications of a method known as video stimulated recall. Stimulated recall first began entering musical study as a method that was pioneered in the field of psychology. By presenting participants with video-recorded actions to reflect upon, stimulated recall as a method seeks to improve the richness and precision of interviews, so their capacity to produce deep insights is greatly enhanced by reference to automatically recorded behaviors. Depending on how it is defined, “stimulated recall” may be understood as associated with the use of images in therapy sessions as part of psychological research as early as the 1950s. However, in music research stimulated recall is typically understood today as a strategy that employs the use of audio or audiovisual recordings as a basis from which to stimulate precise discussion of musical techniques.

How exactly have previous music-related studies made new insights by pioneering the application of video stimulated recall strategies, and what has our project done to extend further with methodological innovation? As recent as 2009, a study in the international journal Music Education Research was able to identify previous studies in education that used stimulated recall method, but not any in music (Rowe, 2009). However, across the past decade various music studies have made use of video stimulated recall methods, including from the very year that Rowe’s study was published (Heikinheimo, 2009), a significant proportion of which are from the Nordic countries (e.g. Falthin, 2015; Heikinheimo, 2009; Soderman & Folkestad, 2004, etc.). Moreover, while the term “video stimulated recall” was not explicitly used at the time, some innovative studies of musical interaction in jazz from the perspective of communication theory were developed as early as the late 1980s by Bastien & Hostager (1988, 1992, 1996) that might best be understood as pioneering the use of stimulated recall methods in music. In these studies, jazz musicians were videotaped in the course of improvised performance and later asked to explain the processes observed. More recently, notable studies have included doctoral dissertations in Europe (Falthin, 2015) on meaning-making processes among young music students, and in North America (Bell, 2013) on interaction with technologies in the music recording process. Articles using this method in major journals have examined such topics as the views of expressive performance among young music students (Meissner, Timmers & Pitts, 2020) and how music teachers and students view the role of creativity in music performance (James, Wise, & Rink, 2010). There have thus far been relatively few stimulated recall studies of advanced musicians and situations in which musicians are negotiating between different musical traditions across a cultural divide, yet stimulated recall methods promise insights in these areas as well.

Our work may be among the first to use stimulated recall methods to examine intercultural music making, although not the first to use these strategies for study of other aspects of music making nor intercultural issues. In fact, there are previous examples of this method being used for cross-cultural research in Vietnam, although not in the field of music (Nguyen & Tangen, 2017). Rather, what makes the approach used in our study unique is that the robust capabilities of stimulated recall strategies are used to explicate complex experiences and processes are brought to bear on aesthetic decision making associated in both traditional and experimental musicianship in the context of an intercultural project. In such a way, the work of the Six Tones in this project has extended significantly on previous methods and research findings. Our initial motivation for developing the methods for analysis of our artistic practice was the challenge we faced as a group of musicians involved in intercultural collaboration. In The Six Tones, musicians from traditional Vietnamese music would engage with musicians from the west, negotiating musical practices as the practice is unfolding. At the early stages of this process the language barrier highlighted the different perspectives and the need to make these perspectives a central aspect of the artistic process. At the bottom line, the challenge we experienced was rooted in how our listening, as professional musicians, is socio-culturally situated, and therefore biased. An extra effort is therefore necessary to move beyond stereotypical interaction, and the aim of the method we developed was to accommodate new forms of listening that engender more dynamic artistic exchange. 

As developed for artistic research purposes by the group, it would be a mistake to see the method of stimulated recall as primarily aiming for the production of discursive analytical layers, i.e. the coding and annotations. In the practice of The Six Tones, it is instead the ways in which the shared listening, enhanced through the method, has created a new listening practice within the group: a transformed listening. The process of verbalizing and signifying the experience of repeated listening is an important part of the process, but not the final goal. Rather, it is this transformed listening, and the ability to establish modes of interaction with musical Others beyond cultural prejudice, which has been the central ambition. The panel discusses how such a listening practice emerged within the group, but also gives examples of how such forms of listening has subsequently been shared with other musicians in intercultural collaboration. Our reference is the work carried out in the ongoing research project Musical Transformations, involving master performers in a tradition in the south of Vietnam, and how they describe experiences of transformed listening, through the process of intercultural music making, and the use of stimulated recall. 

We understand a musician’s listening as embodied, and therefore situated in the interaction with their instruments, and other musical tools, such as tonal systems and forms of notation. A transformed performance practice can be seen as evidence of a transformed listening. We also argue that novel modes of listening can be evidenced in the interaction between musicians in performance. When artistic research is manifested in performance, its outcomes must also be assessed through its force and effect in an art world. In what ways do the artistic outcomes create difference? 

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.

With the worldwide lockdown affecting individual musicians and concert halls, streaming technology has become a central vehicle through which musicians and audiences can meet.  But this forced move to digital presence also suggests new possibilities, beyond the ongoing coronavirus pandemic. This paper discusses how networked performance, a format which has engaged artists for decades as an artform in its own right, may also contribute to the sustaining of cultural heritage among migrant/minority communities as well as to the development of innovative intercultural artistic practices. Building on the experience of our group, The Six Tones, as well as on research carried out by Roger Mills (2019) and Ximena Alarcón Diaz, we wish to develop a more robust understanding of the possibilities, and the limitations, that networked technology affords. The central source of our own work is drawn from Musical Transformations, an ongoing project which studies the intersection between traditional and experimental music in globalized society. We address the role of social interaction in the practice for intercultural collaboration, developed by The Six Tones since 2006, and discuss how such interactions are made difficult when collaborating through mediation of digital technology. In this context we believe that it is possible to also study what the limitations that the technologies impose and what the nature of these limitations amount to. Such a study may be useful also in other areas of digital interaction. Qualitative analysis of video documentation from rehearsals and performances constitute the foundation for the study. In the paper, we further discuss the projected creation of a scene for intercultural exchange at Manzi Art Space in Hanoi, with reference to the first networked performance carried out live on a scene in Hanoi on July 12, 2020, curated by The Six Tones at Manzi. This project situates the discussion even more immediately in the current developments of music culture at the time of the pandemic. The presentation, by the four authors, is supplemented with video from networked performances, as well as interviews with the group and guest performers documented on video. 

The Six Tones and Phạm Công Tỵ play an experimental version of Vọng cổ, a traditional tune from the south of Vietnam. The Six Tones are Nguyễn Thanh Thủy (who plays Đàn tranh), Ngô Trà My (who plays Đàn bầu), Stefan Östersjö (Vietnamese electric guitar) and Henrik Frisk (electronics). 

With the worldwide lockdown affecting individual musicians and concert halls, streamingtechnology has become a central vehicle through which musicians and audiences can meet. Butthis forced move to digital presence also suggests new possibilities, beyond the ongoingcoronavirus pandemic. This paper discusses how networked performance, a format which hasengaged artists for decades as an artform in its own right, may also contribute to the sustaining ofcultural heritage among migrant/minority communities as well as to the development ofinnovative intercultural artistic practices. Building on the experience of our group, The SixTones, as well as on research carried out by Roger Mills (2019) and Ximena Alarcón Diaz, wewish to develop a more robust understanding of the possibilities, and the limitations, thatnetworked technology affords. The central source of our own work is drawn from MusicalTransformations, an ongoing project which studies the intersection between traditional andexperimental music in globalized society. We address the role of social interaction in the practicefor intercultural collaboration, developed by The Six Tones since 2006, and discuss how suchinteractions are made difficult when collaborating through mediation of digital technology. Inthis context we believe that it is possible to also study what the limitations that the technologiesimpose and what the nature of these limitations amount to. Such a study may be useful also inother areas of digital interaction. Qualitative analysis of video documentation from rehearsalsand performances constitute the foundation for the study. In the paper, we further discuss theprojected creation of a scene for intercultural exchange at Manzi Art Space in Hanoi, withreference to the first networked performance carried out live on a scene in Hanoi on July 12,2020, curated by The Six Tones at Manzi. This project situates the discussion even moreimmediately in the current developments of music culture at the time of the pandemic. Thepresentation, by the four authors, is supplemented with video from networked performances, aswell as interviews with the group and guest performers documented on video.

This paper provides a study of a workshop which invited composers, musicians, and sounddesigners to explore instruments from the history of electronic sound in Sweden. The workshopparticipants applied media archaeology methods towards analyzing one particular instrument fromthe past, the Dataton System 3000. They then applied design fiction methods towards imaginingseveral speculative instruments of the future. Each stage of the workshop revealed very specificutopian ideas surrounding the design of sound instruments. After introducing the background andmethods of the workshop, the authors present an overview and thematic analysis of the workshop'soutcomes. The paper concludes with some reflections on the use of this method-in-progress forinvestigating the ethics and affordances of historical electronic sound instruments. It also suggeststhe significance of ethics and affordances for the design of contemporary instruments.

As the Covid-19 pandemic continues to affect individual musicians, ensembles and concert institutions,streaming technology has become a central vehicle through which musicians and audiences can meet.This paper discusses how networked performance, a format which has engaged artists for decades as anartform in its own right, may contribute to the sustaining of cultural heritage among migrant/minoritycommunities as well as to the development of innovative intercultural artistic practices. Building on theexperience of our group, The Six Tones, we wish to develop a more robust understanding of thepossibilities, and the limitations, that networked technology affords. The central source of our own work isdrawn from Musical Transformations, an ongoing project which studies the intersection betweentraditional and experimental music in globalized society.The project has studied the dynamic history and contemporary performance practices of VoÚng CÙ“, aVietnamese song which has experienced a radical set of transformations since the 1920’s. Recordingtechnology has played a central role in this development, as evidenced even in the way its formalstructure was shaped to match the duration of the 78rpm records on which this music was recorded onlocal labels still in the 1960’s (Gibbs et al 2013). We note that interactions both inside and outsiderecording studios contribute to urban culture. From the perspective of the street in Ho Chi Minh City, bothrecording studios used in this project blended into their surroundings, amongst residences, tinyconvenience shops, hair salons, and restaurants selling pho and banh mi. Both studios also werenegatively affected by traffic noise from a steady stream of motorbikes and trucks as well as constructionprojects. Local businesses were evidently accustomed to encountering foreigners leaving the studios forbreaks in their recording sessions. Only a modicum of previous ethnomusicological studies haveconsidered the role of recording studios in urban culture, which promote business in local communitieswhile producing cultural products that have a lasting and expansive impact far beyond their neighborhood.Kay Shelemay observed that “recording technology is not only an integral part of our discipline’sintellectual history. It is an increasingly important part of our future as well” (Shelemay, 1991, p.288). Weargue that the rise of telematic performance in the time of the pandemic also points to new avenues forrecording technologies, inside and beyond the recording studio.

This paper describes initial research conducted in The Ra-dio Sound Studio Project. 1 The aim of the project is todevelop novel sound design tools by digitally model histor-ical sound effects, found in the radio drama studio, utilis-ing methods from sound computing, ethnography, and de-sign. These novel sound tools will address both artisticsound practices as well as more utilitarian sonic interac-tion designs for new objects. The project also provides atangible approach to connecting new sound design devel-opments with historical literature and practice, and createnew opportunities for radio, TV and Foley studios. Thispaper focuses on the process of selection of the soundingobjects to be modelled, which was based on an in-depthinterview with Sveriges Radio’s sound engineer and soundmaker Michael Johansson as well as observations of hisFoley practice. It also describes the initial modelling ofone of these objects, and plans for future work