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In this audio paper I will focus on two ideas. The first is the ephemeral city. The conscious re-imagining of the cityscape, from elements ranging from the historic to the fantastical, can effect an individual’s sense of place as much as the physical structures that comprise it. These imagined – or ephemeral – cities can be a way of coming to grips with an urban environment changing in rapid and dis

This is a two-part presentation of a non-traditional transposition and improvisation technique, first demonstrating the transposition practice itself, as I have developed it to date, then demonstrating how I have employed it both in research and in teaching. Transposition of non-musical sources, especially field recordings and incongruent real world sounds from a variety of environments, is a part

Walking into Ftarri Records, I was surprised to find myself not in thepresent, but the past. The owner opened a box of AMM CDs from 1997,exclaiming gleefully, “Wow, these are really old. No-one will buy these –cool!”. Yet Toshimaru Nakamura played with an Eventide harmonizer pedalthat evening – something unimaginable in the starkly minimalist days theshop strove to emulate.In the 1990s, Boston Noi

As forces like gentrification and globalization affect the fabric of city life, it grows difficult for a single individual to identify their own story, history or place, or shape any part of the cities where they live as unique from any other. How can music, and particularly electroacoustic music, become a way to map new psycho- geographies? Can such music empower others to tell their own stories,

Illegal drugs are disgusting, while legal and medical drugs are not. This is a message that has long been promoted in Sweden and has become a self-evident claim, even though the active substances in legal and illegal drugs can be the same. What is then the difference between a threatening, disgusting drug and a non-threatening medical cure? In this article, proximity and distance to objects alread

This article is about my electroacoustic, multichannel work, Norra bantorget, composed in 2013, and premiered that year at Audiorama. The work addresses the psychogeography of Stockholm, and specifically the square at the site of the old central station.

Soundwalking has its roots as a meditative practice, engaged with ecological concerns. Its origin in R. Murray Schafer's work imbibes it with longing for environments free of industrial sound, and Pauline Oliveros' sound-walking practice seeks the subtle emerging from the silence. Although these progenitors of what we call soundwalking offer us a wonderful palette of listening and walking practice

This open access book explores the increasing role of psychoactive substances in contemporary everyday life, focussing on women's use. Drawing on an ethnographic study in Sweden, it uses cultural studies and queer phenomenology to analyse the women’s narratives of drug use relating to themes that encompass social, legal, cultural, embodied and gendered perspectives on drugs in the contemporary Wes

Five improvisation/compositions for solo violin:I. Fågel/BirdII. Sun/SolIII. Sten/StoneIV. Yes!/Ja!V. Stålträd/WireThese pieces are made for Stockholm, using field recordings, birds and solar data from the city as objects of aural transposition.

Casey Moir arranged this event in her neighborhood of Bredäng. It was a sound walk, punctuated with improvised music performances. First we encountered Moir, who worked with voice and objects in a pedestrian tunnel, blending unexpectedly and marvelously with a family fair going on nearby. Then we went up a granite hill to listen to Finn Loxbo play extended acoustic guitar, contemplative and still

x.1 fixed media composition. 2016. Made from recordings of pipe organs in the Music Academy, Buchla and Serge synthesizers at EMS and KMH. 15:00. PLEASE NOTE this is a headphone version of the piece. It will not play properly in speakers. Multichannel files for the piece are available from the composer on request.

x.1 fixed media composition. 2017. This piece is made from field recordings of Stockholm and Buchla at KMH. 21:00. PLEASE NOTE that this is a Headphone version; it will not play properly in speakers. Multichannel files for the work are available from the composer on request.

This is a text-sound-composition work made in Ambisonics. It was commissioned by Audiorama and PULS, for a concert curated by composer Trond Lossius, at Østre gallery in Bergen, in 2019. IMPORTANT: This is a headphone version of the work, and will not play properly in stereo speakers. Files for multichannel performance are available on request.Ambisonics fixed media composition. 2020. 14:00. PLEASE NOTE this is a Headphone version. It will not play properly in speakers. Multi-channel speaker versions of the piece are available from the composer on request.

This is a work for solo violin improvisation, four radios, four radio transmitters, and a four track fixed-media sound collage made from field recordings and eurorack synthesizers. This performance was at the one-night festival Sonotopia, put on by those of us who took the Sound Art as Critical Practice course at Stockholm University for the Arts in January of 2019. The film was made by Girilal Ba

Fixed Media, Mixer DIffusion, Violin and Voice created for irregular 47.2 channel system. 2018. PLEASE NOTE this is a Headphone version of the piece. It will not play properly in speakers. A reduced, multi-track version of the tape part is available from the composer on request.

Deuterium quartet (Bruno Andersen - vevlira, Lisa Gerholm - Nyckelharpa, Fredric Bergström - vevlira, Katt Hernandez - F# violin) playing a composition/improvisation structure in Mimerlaven, at the Norberg festival. Tis work was made collaboratively.

Deuterium (Lisa Gerholm - Nyckelharpa, Bruno Andersen - vevlira and Katt Hernandez - F# violin) performing a composition/improvisation in the Dome of Visions when it was at KTH in Stockholm. This work was made collaboratively.

Deuterium (Bruno Andersen - vevlira and Katt Hernandez - F# violin) performing a composition/improvisation at a former industrial building that was about to be rebuilt as condominiums at Virkesvägen 3 in Stockholm. This work was made collaboratively.

This is a collaborative composition/improvisation made for organist Karin Johansson. Since Johansson combined her work with me with a project she was doing about choral preludes, both recordings feature segues between Ghost Prelude and some of the choral preludes she was working on. This is a collaborative work.