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  Goodbye Intuition (last edited: 2018) author(s): Ivar Grydeland, Morten Qvenild, Sidsel Endresen, Andrea Neumann This exposition is in progress.
  With Goodbye Intuition we seek to challenge our roles and artistic preferences as improvising musicians by improvising with "creative" machines. In our project the machines can both take the role of a performer for us to play with and they can be extensions of our own instruments. They can become both our duet partners and they can be additions, expansions or augmentations of our sound. Playing is core in our investigation, and it is based on this experience we try to articulate thoughts and answers to the following questions: - How do we improvise with "creative" machines, how do we listen, how do we play? - How will improvising within an interactive human-machine domain challenge our roles as improvisers? - What music emerge from the human-machine improvisatory dialogue? The project's artists are Andrea Neumann (GER), Morten Qvenild (NOR) and Ivar Grydeland (NOR). The artist Sidsel Endresen (NOR) is our observer, commentator, critic and discussion partner. Norwegian Center for Technology in Music and the Arts (NOTAM) is our technological collaborator. Additionally, musician, composer and researcher Henrik Frisk (SWE), writer, musician, composer David Toop (UK) and director and writer Annie Dorsen (US) contributes to the project.
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  Körper (last edited: 2018) author(s): Hanns Holger Rutz, David Pirrò This exposition is in progress.
  Process of creating a new sound piece around questions of algorithmic bodies.
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  Almat - Thresholds of the Algorithmic (last edited: 2018) author(s): Hanns Holger Rutz, David Pirrò This exposition is in progress.
  Exposition for the workshop-in-exposition taking place in Bergen, Norway, June 2018. This event is a collaboration between Almat and BEK Bergen for Electronic Art, and part of BEK and Notam’s ongoing series of workshops for advanced users. It is a hybrid format that places the workshop inside an exhibition context, where the exposed works and artefacts form the basis of the workshop’s activity. Instead of “closed works”, what is exposed to the general public are objects, sounds or installations that are open to engagement and reconfiguration during the workshop. Theme: Thresholds are locations of transitions, points where one modality becomes another, where a qualitative change occurs. In physics the point where an aggregate state changes—the phase transition—is a distinguished transitional location where the properties of the adjacent states become evident. Similarly, in this workshop-in-exposition we want to study the properties of the algorithmic by putting ourselves in threshold positions and actively shape them. More than merely separating two sides, one can spend time on a threshold, move along a ridge, performing a tightrope walk while trying not to fall to either side.
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  Emancipation of the Clarinet (1720-1760) (2018) author(s): Adrianna van Leeuwen-Steghaus published in: KC Research Portal
  Name: Adrianna van Leeuwen-Steghaus Main Subject: Historical Clarinet Research Supervisor: Inês de Avena Braga Title of Research: Emancipation of the Clarinet 1720-1760 The transforming role of the two and three keyed clarinet in Sacred Music of the Late Baroque Period Research Question: Can we trace the Baroque Clarinet's role in Sacred Music and is there an obvious progression in the way composers wrote for the instrument beginning in the early 18th century to the instruments demise in the mid 18th century? What was the Baroque Clarinet's role in Sacred Music? Did composers intentioanlly use this instrument and if so for what purpose? Summary of Results: When speaking about the clarinet, the first period of music we naturally associate with it is the Classical. However, few realise that the history of the clarinet begins much earlier in the Baroque, with an instrument that we would today describe as ‘primitive’. The Baroque clarinet was developed around 1700 in Germany. It's repertoire and legacy is confined to about 50 years of music history. Colloquially called the 'Mock Trumpet', the Baroque Clarinet is characterized by a bright and brilliant sound. Some research has been done on the instrument already, particularily on its general history and repertoire. However what remains missing is uncovering the Baroque Clarinet's role in sacred music. Sacred music, particularily cantatas dominated musical life in the 18th century. Cantatas were performed every Sunday as well as on special feasts throughout the ecclesiastical calendar. Over the past two years, I have discovered a trove of cantatas containing parts specifically written for the Baroque Clarinet, some by well-known composers such as Telemann and Graupner and others unknown until now, such as Seibert and Kurz. Coincidentally, most of the composers are of German origin, employed by various cities and/or courts across the German-speaking lands. This research examines the repertoire and attempts to find a progression in the clarinet's use and role. The instruments characteristic timbre meant it shared a symbiotic relationship with the trumpet, but did it ever shed its trumpet association and find its own voice? Through analysis of the various cantata parts, I uncover that the clarinet was in some ways the 'perfect compromise'; able to sound brassy and brilliant when required, while also able to produce a sweet and singing tone. The clarinet was also techinically more capable then its trumpet counterpart, because it was less confined to the harmonic series and able to play quicker notes melodically with more stepwise intervals. In November 2017, the Royal Consrvatorie's Early Music Department premiered two of Telemann's cantatas with clarient parts; Lobet den Herrn TWV 1:1061 and Der Tod ist verschlungen in den Sieg TWV 1:320. Biography: Adrianna van Leeuwen-Steghaus, is a Canadian clarinettist specialising in historical instrument performance. She is a member of two successful chamber ensembles, the Swedish based trio Boxwood & Bows and the Dutch based duo The Küffner Gals. Adrianna graduated with distinction from the University Of Calgary (CAN), obtaining her Bachelor’s degree in modern clarinet performance. She moved to the Netherlands in 2012, to complete a second Bachelor’s degree in Historical Clarinet and Chalumeaux at the Koninklijk Conservatorium in Den Haag. Currently, she is busy completing her Master’s degree and thesis under the tutelage of Professor Eric Hoeprich in the Netherlands.
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• Documenting Experiential Authorship (2018) author(s): Chrysa Parkinson published in: VIS – Nordic Journal for Artistic Research
  Layered, scattered and synthetic traces of a performer’s authorship. A series of harmonic partials. Materials include photographs, audio recordings and writings sourced from performances the author participated in between 2013 – 2017. 1. Audio File: Sydney, Warsaw, Berkeley, 2016 Sydney Biennale: Adrian Heathfield/Ghost Telephone, 2016 Warsaw Museum of Modern Art: Boris Charmatz/Expo Zero, 2016 Death of the Documenter: Family Home, 2016 2. Photos (Zan Wimberly) of Sydney Biennale 3. Photos (Chrysa Parkinson) of Warsaw Museum of Modern Art and Family Home 4. Audio File: 7 Questions (4 voice recording), 2016-2017 with embedded questions from: Ilse, Louise, Klara, Yari, Adam, Kim, Hanah, Andreas. 5. Essay with Audio: Liminal Animates, Chrysa Parkinson 2013-2018 6. Audio file: The Glitch, Chrysa Parkinson 2015
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  The Document as Music. Exploring the musicality of verbatim material in performance (2018) author(s): David Roesner, Bella Merlin published in: Journal for Artistic Research
  During a four-week fellowship at the LMU Munich in 2016, Bella Merlin (UC Riverside, USA) and David Roesner (Theatre Studies, LMU Munich) investigated the relationship between original interview material and its (musical) staging. In particular, they explored the ethics and aesthetics that musicalisation might present in relation to the speech patterns, vocal inflections and rhythms of their interview partners from across three generations in three different countries. In this article they will draw conclusions from their working process, which address questions about verbatim theatre and musicality beyond their particular study.
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Isabela Grosseova

Mireia c. Saladrigues
Finland, Spain (residence)

Kosmas Giannoutakis

Glen River
United States (residence)

E. T. Hetzler

Francisco Lopez
Spain (residence)

sten sandell

Sunniva Storlykken Helland
Norway

Huub de Vriend
Netherlands