References

Blauert, J., Guski, R. (2009) Critique of Pure Psychoacoustics, NAG/DAGA Conference of Acoustics, Rotterdam, 2009. 

Blauert, J. A Perceptionst's view of Psychoacoustics; ARCHIVES OF ACOUSTICS, Vol. 37, No. 3, pp. 365–371 (2012).

Chion, M. (1994). Audio-vision; Sound on screen. (W. Murch, Red., & C. Gorbman, Övers.) Columbia University Press.

Chion, M. Schaeffer, P. (1983). Guide des objets sonores. (M. Chion, Red.) Paris, France: Institut National de l'Audiovisuel et Buchet/Chastel.

Cox, C. (2011). Beyond Representation and Signification: Toward a Sonic Materialism. Journal of Visual Culture.

Foster, H. (1996). The Artist as Ethnographer? H. Foster, The Return of the Real: THE AVANT-GARDE AT THE END OF THE CENTURY. Cambridge, MASSACHUSETTS, USA: MIT Press.

Hannula, M. (2010). Politics, Identity and Public Space: CRITICAL REFLECTIONS IN AND THROUGH THE PRACTICES OF CONTEMPORARY ART. p. 45. Utrecht Graduate School of Visual Art and Design.

Haraway, D. (1988). Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, Vol. 14, No. 3. (Autumn, 1988), pp. 575-599.

Kandinsky, W. (1977). Concerning the Spiritual in Art (revised copy uppl.). (M. T. Sadler, Övers.) Toronto, Ontario, Canada: Dover Publications Inc.

Kim, C. S. (Artist). (2015). The enchanting music of sign language.

LaBelle, B. (2013). Background Noise; Perspectives on Sound art; Chapter 1: Sociality of Sound; John Cage and Musical concepts. i B. Labelle, Background noise; perspectives on sound art. Bloomsbury Academic.

LaBelle, B. (2017). Sonic Agency - Sound and Emergent Forms of Resistance. London: Goldsmiths Press Sonics.

Lee, M. (2014). När andra skriver: skrivande som motstånd, ansvar och tid. Sverige: Glänta produktion.

Lipsey, R. (1988) The Spiritual in Twentieth-Century Art. Reprint of "An Art of Our Own: The Spiritual in Twentieth-Century Art" Shambhala Publications, Inc., Boston.

Mouffe, C. (Summer 2007). Artistic Activism and Agonistic Spaces. ART&RESEARCH: A journal of ideas, contexts & methods, 1(2).

Oliveros, P. (2010). Sounding the Margins; Collected writings 1992–2009; Quantum Listening: From practice to theory (to practice practice) p. 73. . i P. Oliveros, Sounding the Margins; Collected writings 1992–2009. Kingston, NY, USA: Deep Listening Publications.

Oliveros, P. (Artist). (November, 12, 2015). The difference between hearing and listening. Indianapolis, USA.

Signal-to-noice-ratio https://en.wikipedia.org/wiki/Signal-to-noise_ratio

Sunesson, J. (2004). Dom skulle inte bli gamla. Stockholm, Sverige.

Sunesson, J. (2004–2008). The White Suite.

Sunesson, J. (2012–2014). Study of a failed parachute.

Waldock, J. (October 2011). SOUNDMAPPING: Critiques And Reflections On This New Publicly Engaging Medium. Journal of Sonic Studies, volume 1, nr. 1.

The White Suite, Part I: Död stad, Vit stad (2004)

Dom skulle inte bli gamla (2004)

BACKGROUND


In 2004, I started working on a conceptual sound project called "Dom skulle inte bli gamla" (They would never grow old).


During one a half month I travelled on the subway's red line once a day, rigged with hidden microphones.


At the time, I lived in a tiny flat at a stop called "Hägerstensåsen", but during my years in Stockholm I had lived at several, short term addresses along the red line, so I felt this was the closest to "home" that I had. The aim of the project was to explore the sub terrain along the line, through sound. 

What sound fragments would defy the bass heavy, muffled hum of the underground and stick to the tape? 


I worked according to a strict conceptual framework where only those defiant "rebel sounds" were to be used in the final piece. The findings were surprising – and this experience has come to completely define all my future processes.

 

Onwards, my work has consisted of various forms of collage-based constructions and processes derived from journalistic research, field recordings and interviews. The work is re-assembled according to invented, often conceptual, methods and remix aesthetics.


My work is often site-specific, exploring the narrative place & space of my own home environment – whether it being Stockholm (Sweden), South Queensferry (Scotland), Birmingham (England) or Örbyhus in Tierp (Sweden).

This approach is highlighted in “The White Suite” consisting of three text/sound pieces and one video piece, all commissioned between 2004 and 2008 and the "Study of a failed parachute" audio-visual project (2013–2015). “The White Suite” deals with the impact of the westernised, neoliberal system in relation to the city, the human body and society in Sweden and the UK – where I lived at the time. The methods used in these works, actively distorting the material and blurring the line between journalism and art.

The White Suite, Part II: Anaglypta (2006)

The White Suite, Part III: Hands up! Jag skjuter! (2007)

Study of a failed parachute (2013–2015) audio version