1. Photo credit: Trond Lossius

1. Barry Blesser and Linda-Ruth Salter (2006) Spaces Speak, Are You Listening?: Experiencing Aural Architecture. Cambridge, Massachusetts: The MIT Press

2. Roger Keil (2013) Suburban constellations. Gouvernance, land and infrastructure in the 21st century. Berlin: jovis Verlag GmBH

3. Edward W. Soja (1996) Thirdspace: journeys to Los Angeles and other real-and-imagined places. Cambridge, Mass: Blackwel

4. James J. Gibson (2011) The Ecological Approach to Visual Perception. 17th pr. New York: Psychology Press

5. Tim Ingold (2013) Making: anthropology, archaeology, art and architecture. London & New York: Routledge


sound artist I composer

is a sound and installation artist based in Bergen, Norway. He investigates relationships between sound and place. His primary interest as a field recordist is to listen to and capture the sound of suburbs. Using surround (Ambisonic) microphones he records places rather than sounds. When needed he develops custom software for use in his projects. He is currently professor and PhD-leader at the Norwegian Film School and professor II at the Grieg Academy.

Field recording in the suburb has been integral to his artistic practice for more than ten years. This interest originated when moving to Ågotnes at the outskirt of Bergen and gradually realising how this area was transforming from rural to suburb, with new residential areas, sprawl, industry and infrastructure. The proximity to a coastal supply base also made this location highly sensitive to and affected by international socio-political events such as the 2008 financial crisis, changing oil prices, and the Syrian refugee crisis. "More and more the world comes to the suburbs and so the suburbs are, more and more, the world: the periphery is not peripheral." The practice of field recording thus has become a means not just to listen to and for sound, but also to register and digest the suburb surroundings in the broadest sense, including political, societal, economic and environmental issues. Ambisonic field recordings form the basis for (often collaborative) audiovisual installations.