production name: LEGOLAND

Media: Shortwave, audio and performance, misc

Branches: Hidden, Education, Expo, Distribution

alpha stage test: Fylkingen 17 February 2012 (web info) free entrance

Performance some time between 17.30-22.30 (16.30-21.30 UTC)

———————-

Welcome to listen to a preview version of the sounds from of a project based on different approaches upon material obtained from unknown intelligence communications, intelligence, and number broadcast, and more.

I will serve my own, unique and fresh recordings (from 2012) from a few spy-broadcasting services in Europe and elsewhere. Welcome to a strange world of concrete privacy! Even MI6 may attend, if you’re wondering what that unknown person is taking notes of!

If we are lucky, I will also allow the listening of some unknown radio transmitters which broadcast live during the concert!

LEGOLAND in “alpha stage” test

Fylkingen Friday, February 17, at. 20.30 (approx.)
www.fylkingen.se
Note: to allow the listening of simultaneous spy-stations, the concert will begin promptly at. 20:30 or 21:00

sneak preveiw on http://www.tomasnygren.com/

Beer is served at the bar (during pause)

————————————————– ———————————–

- Presented at the same time:
MATS Lundell - OPENING
19:30 to 22:00

A small photographic exhibition in the foyer of photos from Pripyat, Slite, Luleå and Malmberget.

On stage:
Tomas Nygren, Joakim Gullander, Tippi The Wind and William Tottie.
And a small Soviet propaganda film.

free admission

info sheet (pdf)

]]> http://tomasnygren.com/blog/?feed=rss2&p=662 2:39 production name: LEGOLAND Media: Shortwave, audio and performance, misc Branches: Hidden, Education, Expo, Distribution alpha stage test: Fylkingen 17 February 2012 (web info) free entrance Performance some time between ... production name: LEGOLAND Media: Shortwave, audio and performance, misc Branches: Hidden, Education, Expo, Distribution alpha stage test: Fylkingen 17 February 2012 (web info) free entrance Performance some time between 17.30-22.30 (16.30-21.30 UTC) ---------------------- Welcome to listen to a preview version of the sounds from of a project based on different approaches upon material obtained from unknown intelligence communications, intelligence, and number broadcast, and more. I will serve my own, unique and fresh recordings (from 2012) from a few spy-broadcasting services in Europe and elsewhere. Welcome to a strange world of concrete privacy! Even MI6 may attend, if you're wondering what that unknown person is taking notes of! If we are lucky, I will also allow the listening of some unknown radio transmitters which broadcast live during the concert! LEGOLAND in "alpha stage" test Fylkingen Friday, February 17, at. 20.30 (approx.) www.fylkingen.se Note: to allow the listening of simultaneous spy-stations, the concert will begin promptly at. 20:30 or 21:00 sneak preveiw onnbsp;http://www.tomasnygren.com/ Beer is served at the bar (during pause) -------------------------------------------------- ----------------------------------- - Presented at the same time: MATS Lundell - OPENING 19:30 to 22:00 A small photographic exhibition in the foyer of photos from Pripyat, Slite, Lulearing; and Malmberget. On stage: Tomas Nygren, Joakim Gullander, Tippi The Wind and William Tottie. And a small Soviet propaganda film. free admission info sheet (pdf) Events,,Sound,Art Tomas Nygren no No http://tomasnygren.com/blog/?p=641 http://tomasnygren.com/blog/?p=641#comments Sat, 05 Nov 2011 22:13:15 +0000 admin http://tomasnygren.com/blog/?p=641

On October 28, 2011, Andrea Rossi demonstrated his 1 megawatt E-Cat system to his first customer, who had engineers/scientists on hand to test/validate its performance. Due to a glitch, it provided 479 kW of continuous power for 5.5 hours during the self-sustained mode.

read more at peswiki >>>

The total energy released between 12:30 and 18:00 was calculated from the amount of water heated and evaporated. The water flow was measured with two water meters, and according to the controller’s report the energy amounted to a total of 2635 kWh.

Subtracting the energy for pumps and fans, amounting to 66 kWh, this equals a net energy of 2569 kWh, which corresponds to an average power of 467 kW.

Subtracting the energy supplied during startup, about 320 kWh at an average power of 160 kW, the net energy would still be 2249 kWh. In this case the energy output during startup should also be estimated and added.

According to measurements of radiation made by David Bianchini from the University of Bologna no radiation above background level was registered.

Article in Ny Teknik >>> (ENG/SWE)

Andrea Rossi, Photo: Mats Lewan

Scanned document specs from Andrea Rossi >>> report ecat oct 28 pdf by Rossi

update 16 Jan, interview with Andrea Rossi

20120114 Live interview with Andrea Rossi

inledande text:
Idag kan man skönja en positiv tillväxt för kvinnor inom kompositörsyrket. Ännu är det inte fair game, många ålderdomliga uppfattningar spelar en stor roll även idag om hur kvinnors själv-bild utformas och vilka vägar som är möjliga och betydelsefulla. Musikhistoriens manliga genier präglar än idag en stor roll för vad som är viktigt musikaliskt sett. Detta gäller speciellt inom den klassiska musiken men även inom improvisationsmusiken till stor del. Utöver vissa punktnedslag genom åren (t.ex. LARM, Opus 96) har ett antal viktiga nätverk sedan 2000 talet varit viktiga för kvinnors utökade möjligheter att nå fler beställare. Bl.a. KVAST, IMPRA osv.
Kan vi idag spåra en tillbakagång? När stereotypa bilder via media bidrar till ett passivt, konsumentinriktat skönhetsideal hos unga tjejer? I vilket sammanhang kan de skapa mening som kreatörer? På vilket sätt har männen i t.ex. mansdominerade bandkulturer skapat förutsättningar för kvinnor att kunna känna sig  välkomnade som kompositörer och instrumentalister, och inte bara som vackra vokalister?
Vi botaniserar kring inbjudna nätverk och kollar av dagsläget hur olika aktörer har försökt att få in skapande kvinnor i musiken, hur man ska se på utvecklingen av musikskapare hos yngre generationer?

Paneldiskussion om kvinnor i konst, och improvisationsmusiken (mp3)

Medverkande: Lina Nyberg (IMPRA), Lisa Ullén (FYLKINGEN)

Tebogo Monnakgotla (KVAST), Patrik Karlsson (URUK)

1 h 51 min 12 sek, mp3 insp. 8/3 2011

—————————

För att få en inblick i samtalet kan man bla. läsa lite i dessa dokument nedan:

På väg mot jämställd scenkonst - Kulturrådets skriftserie 2009:1

Plats på Scen - Betänkande av Kommittén för jämställdhet inom scenkonstområdet (2006)

Långt kvar till jämställt kulturutövande av Fatima Grönblad och Inga-Bodi l Ekselius

Ett geni är alltid en man av Anne Jalakas

Kvinna och musiker? Räkna varken med pengar eller priser! (Mitt i Musiken, 2008)

Vegetation photographic series at Panorama Art

Opening is tomorrow 19/2 and exhibit continues to 3rd March 2011

more on vetetation series:

What relation is going on between plants and humans? We are puzzled
about the complex molecular structures of chemical components found
in plants, structures which we try to solve our own illness in our bodies.
Some plants seems to be in a mental relation to us through neural connectedness.
Our health couldn’t have survived without them. They can
obviously survive without us. They connect through their presence in our
bodies and mind, the rhythm of breathing. The plants distanced self-suffi -
ciency brings up something restoring when human life is so full of dependency
and endless circles of social problems to solve.

http://www.tomasnygren.com/english/vegetation.html

Panorama Art
Engelbrektsgatan 19, 5tr (door call)

Stockholm

open: Tuesday - Friday. 12 - 16, Saturday - Sunday 13 - 16
tel. 08-611 68 97

Handen 11 Dec at “poseidon’s torg” and in the Haninge Konsthall (”Julsalong” exhibition)

Take Commutertrain to Handen station (south going to Västerhaninge) time schedule here

frame for exposure will be around 12.00 - 17.00

People are always moving through spaces and levels of consciousness. In the city signs are telling You where to go and how to organize Yourself to others. We are often very well coordinated to meet the demands of the city. Both to make our movements fit economically in this environment and to keep up the feeling that we are free to make individual selections of directions in the city and life.

Movement takes time and effort and, therefore, it’s important to measure the shortest way between two places. That measurement is, however, often deformed by the shifting variables (physical or mental) for city travel.

more about Rearranged Movement here

Rearranged Movement in St.Petersburg

Philosophy is of concern
Not many people have some clue why Martin Heidegger is so important, perhaps many of them think he just burned his last pieces of trust-ability when he joined the Nazi party 1933 and stayed there to 1945 (perhaps with the hope he could influence the destructive system from within to the better). However, regarding to his content of his philosophy and the political connections the conclusions fall in an arbitrary way to find ones position in an already hard society. Better to play with the game instead to be against, but still something seems to be obviously paradoxical here.

“One can forgive many Germans, but there are some Germans it is difficult to forgive. It is difficult to forgive Heidegger.” Emmanuel Levinas

Since the national socialists campaigned hard about the protection and access for nature (ref), one vague guess would be Heidegger also had his interests in just these specific questions such as the nature and animal protection plans (the presence of nature is strong in Todtnauberg). His affairs with Hanna Arendt (Jewish) and protecting the jewish employees at his school as a counter attitude makes it even more evident that society forced people to have unethical views (if not they got into trouble).

Well this pattern is of course visible in many similar state situations in history. Bad state hence bad people. For instance who would dismiss Plato’s works today for being unjustified and unreadable, when he had such bizarr and amoral political views regarding slaves etc. It was the society at that time that made him activate in that manner. Accusing Heidegger’s political standpoint also means accusing a majority of the German population at the same time, which of course one can do, but this is not especially interesting of philosophical concerns.

So philosophers distill attention to philosophical content (not mainstream political standpoints at the times) and clearly this guy has contributed a lot. When the linguistic analytics like Wittgenstein were trying to solve it all, Heidegger opened it up and just made the wheels turning (and made us all confused again). Since the release of the major work of “Sein und Seit” the philosophical world has questioned if metaphysics is really possible anymore.

Being a philosopher making a pilgrimage
With admiration and a backpack of novice questions a day-pilgrimage to his hütte in south Germany could be a good way to get away from the hot cities. Besides my dear girlfriend Dr. Anna brought up the idea in the first place.

To understand the trip itself it came evident that I also needed to understand the profession of a philosopher as well, a hard work in the humanities in close contact with science, poetry, theology, literature, human culture, history etc, with a considerable amount of thinking, reflecting and argumentation.

Being a philosopher also means to insert you into a process of dis-attachment and the need for spatiality-in-the-thoughts for developing your own nomenclature of building components. (as in contrast for the historical oriented philosophers, that can never stop referring and reading other philosophers). This spatiality do speak in large letters in Todtnauberg, it even feels clumpsy and superstitious to check the clock on the mobile phone.

Anna has an in-depth understanding of the whole world of Heidegger since she spent many years in the prestigious St. Petersburg State University discussing with her colleges and professors. Her thesis also concerned some of the main topics on Heidegger relating to historicity as well as other pretty much hard-boiled subjects. This was at the times when the teachers had not yet become insane (hence quite close to some sort of infinite state).

Ph.D. Kharkina at Heidegger’s Hütte

Becoming a doctor in philosophy at those days also meant promoting artistic liberties rarely seen in universities today and a freedom developing your own methods, textures and systems. The teachers didn’t go home after work but stayed late evenings discussing and developing the art and methods of philosophy with their students. This was an interesting time since many of the the continental philosophers appeared for the first time in their russian translations. Heidegger, Sartre, Foucault etc.

Heidegger rundweg
Todtnauberg is a small beautiful village in south Germany not very far from Freiburg (were Heidegger had his professor chair). The village is reached by first a commuter train departing from Freiburg HBF to Kirchzarten Bahnhof. Then if you have calculated your arrival right for the bus schedule, take the 7215 bus* to Todtnauberg. Since this bus does not go especially often, be sure to plan the day well, since the steep walking in Todtnauberg takes longer time (and more energy) than one can expect.

*Get the tickets (RVF Punkekarte) in the automat, it charges 6-8 punktekarte-markings for one way trip to Todtnauberg, 20 punkte is enough for two people back and forward, which is 13.20 EUR) Old schedule here (but still working) 7215_beide_normal

The bus trip was a delight itself going up the steep hill sides of the Black Forest areas. Used to the nature in Sweden the trees here and the forming of the land is almost brutal, demanding and sublime. You feel really tiny against those pine trees conquering the land and raising sharp up in the sky along the steep sides. At the time of Heidegger days these areas would really feel remote, without asphalted roads and security improvements.

One knows for sure that tourism is important for Todtnauberg at arrival. In this small village you can find a welcoming tourist info-roof with touch screen and maps all over the place. Even though most tourists come in the winter for skiing, we were glad to see that the tourist center further into the village had personnel helping us out to find the Heidegger Rundweg.

Heidegger Hütte in the beautiful surroundings

Todtnau is death-now, poetry the saviour
When you are there, it is really something special about it*

The sign at the hütte clearly speaks: “Why this is not a museum., no entrace, private property etc..” And perhaps in this death of continuation lies an ultimate answer that is definitive but also frightening. Why would one be so against showing the place were one of the most important philosophical works in the 20th century has been written? All road signs are modest, small and easy to miss. It was though not easy to miss the right path in the end, but It felt like it could be.

We we finally got there. A groups of cows were very close walking around and that typically cow alp-bell sound really got you relaxed. Sky is high and you’re one step close to the clouds.

The Jewish poet Paul Celan was promoted by Heidegger for a long time (20 yrs) and Heidegger insisted him to come to Todnauberg. However Paul Clean was very much inspired by Heidegger’s thinking and used this type of philosophy in his own development of poetry. Paul Celan came to his hütte finally and even wrote some poems there. However shorty after his visit at Todnauberg, Paul Celan committed suicide which frightened Heidegger to a large extent. Perhaps Celan had felt the lack of love in the world as a fundamental category, something Heidegger never wanted to add into his work and possibly also made him focus on forces which would lead to destruction.

Everything is less

than it is,

everything is more

Paul Celan

*Its the perhaps same mood and excitement you get as for the occultist going to Rennes le Chateau in France. At that place you are welcomed by text on the church entrance in latin: Terribilis est Locus Iste / This place is terrible”. What is terrible? The truth? Your own existence?

Subject and Object got lost in the hills
Walking up and down the pretty steep hill makes one really aware of the presence of walking, as soon as you think of how you do it you are lost. Its not far fetched that a philosopher on this location wants to get rid of everything that makes up some trouble, including the irritating descartian subject/object dilemma.

It’s understandable that Heidegger didn’t want to sit in Berlin, Freiburg seemed to be a far better deal and closer to his Ur-Plato cave. I just wonder how Elfriede Petri could cope being in this small hütte for these long periods.

EMS introduces their new web domain:

http://www.elektronmusikstudion.se

(was: http://www.ems.rikskonserter.se/)

This means that EMS is ElektronMusikStudion (or the Electronic Music Studio) instead of Elektroakustisk Musik i Sverige (or Electroacoustic Music in Sweden)

Since the organisation Concerts Sweden is closing (this year) EMS is now selecting a new head organization for its administration. The suggested one is Statens Musiksamlingar.

This is an interesting retro-move back to the old name which perhaps will stay for a while if not EAM-music will be produced by other non-electron-methods in the close future (such as optical to vibrational-mechanical etc).

Perhaps the change of name also directs an interesting focus on the method how the music is going to be produced rather than production within already established genres. In this case we can look forward into many new possibilities and innovations for music and sound art at this place.

It would be cool if EMS also could manage now some further and deeper technological cooperation with for instance institutions like the Interactive Institute, which has pretty similar goals as far as interactivity goes. Personally I think the development and insight into the aspect of software and connected tools is crucial despite the dangers of commercial competitiveness. Couldn’t there be some extra budget in the future to hire a programmer working with projects at EMS? In the 70s EMS actually had this, and was in the leading edge of development and research into musical applications using new software and the ideas of composers. At least, what we don’t want, is the danger of EMS archiving itself into a historical document, especially now when the old name is reused. Many of the threads started in the 70’s was never completed or fully investigated, ideas concerning compositional theory, video/sound interaction etc seems to be kinda important too..

Possibly the new waited EMS engineer Daniel Araya can put lots of fresh youthful energy into the 4 employee organization. Mr. Araya has also positioned himself as producer of the Norberg Festival 2010 as well as the Camp 303 at the same festival. Even-though EMS has never really acclaimed  (due to split positions in the culture bureaucracy sphere I guess) the relative potential and support of the underground beat based scene as a forum for artistic concepts we might suspect a punch into this direction.

Attached below, are the text from the press letter from 3rd March 1985 when EMS changed its name in the first place , and moved to their new location at Södemälarstrand (contact phone numbers, and some addresses are removed to escape mistakes by google search ).

In this letter the EMS manager Lars-Gunnar Bodin comment the construction of the new studio complex as building a violin.

Perhaps the EMS today would replace the violin metaphor with a similar one concerning their move to their new organisational place: Its like building an analog synth…

1/3
EMS FLYTTAR
EFTER 20 ÅR!
Efter 20 år i gamla Radiotjänsts lokaler på Kungsgatan 8
i Stockholm flyttar nu den elektroakustiska musikens cen-
trum i Sverige, EMS, till ett av de mest avancerade studio-
byggena någonsin, beläget i det nyrustade Mtinchenbryggeriet
vid Riddarfjärden.
Samtidigt byter Elektronmusikstudion namn, men behåller
de inarbetade initialerna, EMS, men med annan betydelse:
Stiftelsen för Elektroakustisk Musik i Sverige.
Den statligt stödda stiftelsen, som riktar sin verksam-
het till alla professionellt arbetande tonsättare i landet,
får därmed lokaler som väl motsvarar det ökande intresset
för elektroakustisk musik, och möjlighet att ta emot allt
fler gästtonsättare från hela världen. Idag arbetar cirka
30 tonsättare regelbundet med elektroakustisk musik i
Sverige.
-Sverige har här en unik möjlighet att bli ett ledande
centrum för den nya musiken, säger tonsättaren Lars-Gunnar
Bodin, chef för EMS på det sjätte året.
-Vi får ett studiokomplex som egentligen bara har ett
motstycke i Europa, IRCAM i Paris, som leds av Pierre
Boulez.
Münchenbryggeriet rustas nu i sin andra etapp, och för-
vandlas till ett kulturcentrum på Söder med EMS, Svensk
Filmindustri, konstnärligt inriktade gymnasieskolor,
ateljéer, konsertsal och troligen också ny hemvist för
föreningen Fylkingen, sammanslutningen för ny intermedia-

EMS forts…                                         2/3
konst med nära anknytning till den elektroakustiska musiken.
Med fem studios, speciellt utformade av akustiker, och
en rad andra mindre lokaler med ihspelningsmöjligheter, kan
så mycket som tolv tonsättare arbetade parallellt vid EMS.
Sverige får nu sin första 4-kanaIsstudio, speciellt ut-
formad för att komponera musik för fyra kanaler, samt en
ren amatörstudio, som knyts till EMS omfattande amatörkurs-
er. Dessutom flyttas 24-kanalstudion från Kungsgatan till
Münchenbryggeriet, men med helt nya möjligheter genom det
avancerade akustiska bygget
-Våra studios byggs ungefär som man bygger en fiollåda:
rummen ska ge perfekta akustiska förhållanden, och därmed
inspelningsmöjligheter. Inte en spik har slagits in, allt
är sammanfogat med skruvar, och dämpat för att undvika vib-
rationer. Studioväggarna är gjutna i två från varandra fri-
stående väggblock, med dämpningsmattor emellan, och i rummen
tillämpas den s k “dead-live-principen”, med ett “dött” om-
råde i fonden och ett “levande” i studions främre halva.
Det här är det absolut senaste i studioväg, och våra akus-
tiker har tillägnat sig ny kunskap genom studieresor bl a
till USA, säger Lars-Gunnar Bodin.
600 000 kr kostar EMS flytt till Münchenbryggeriet där
den kraftfulla datoranläggningen med en PDP-15/VXM-dator,
och en VAX-11 med kringutrustning är den tunga biten tek-
niskt.
Datorkraften samlas nu i speciella datorrum, och i fram-
tiden hoppas EMS även koppla in datorer direkt i livekon-
serter i huset; en möjlighet som aldrig tidigare funnits
i Sverige.

3/3

EMS forts..

Driften av EMS kostar staten cirka 2 miljoner kr om året.
I Sverige finns elektronmusikstudios bl a på Musikhögskolan
i Stockholm, och i Göteborg byggs nu en studio upp på Musik-
högskolan i ett samarbetsprojekt med Chalmers. Dessutom finns
flera privata studios vilket gör Sverige till ett ledande
land inom denna musikform.
Officiell invigning av EMS nya lokaler sker med en kon-
sert den 26 september i samband med Elektronmusikfestivalen
i Stockholm.
Curt Lundberg

105 15
EMS, Stockholm

Bif,  Bild
Bildtext:  Lars-Gunnar Bodin, tonsättare och chef för
EMS, i den blivande 24-kanalstudion som är
under byggnad. -Det är som att bygga en
fiol, säger Bodin..

ems-flyttar-brev001.pdf (press release one page)

Old document from an investigation on how composers move in the EMS studio complex.. funny isn’t it?

I hop you didnt the miss the lecture by
Sanne Krogh Groth about her PH.D work about EMS  at 16.00, 24 May 2010 at EMS
(I sent her many of the digitalizations we did in 2009 for the Royal Library)

and be sure to check the massive party afterwards:

Detta är ett relativt gammalt bloggsvar på frågan: “Har cd:n någon framtid?” på  SOUNDOFMUSIC [bloggen] http://sombloggen.blogspot.com/ men jag tänkte att det kunde vara kul att posta det här igen..

Det många inte tänker på är att legal nerladdning av filer är ett grönare alternativ på många sätt. Man slipper trycka skivor som kanske ändå måste kastas förr eller senare. Däremot måste musiken ändå lagras på något sätt vilket inte helt utesluter resurskrävande saker som hårddiskar, SD-minne eller masslagring på DVD el. motsv. Däremot, tror jag, är varje nerladdad låt mindre resursslösande än vad en låt på en CD är, vilket ändå måste vara bättre, men det är väl upp till bevis…

Vad många tror är att filer som man kan ladda ner och lyssna på måste vara mp3. mp3 är ett mpeg-1 format som kan liknas vid en jpeg bild. När man gör en mp3 kan man välja att bestämma vilken upplösning som filen ska ha. Den högsta upplösningen som en mp3 kan ha är 16 bitar och en ljudström motsvarande 320 kilobit/sec. Alternativet till mp3 är oförstörande format som t.ex.FLAC (Free Lossless Audio Codec), SHN (Shorten), APE (Monkey Audio), Ogg,  WavPack, TTA,ALAC Apple lossless, Windows Media Audio 9 Lossless, etc.. Något relativ fritt filformat som mp3 som stöder 24 bit har jag då inte hittat. De närmaste man kommer är väl DTS eller Dolby som stöder mellan 18 - 24bit, dock kräver dessa en dyr licensiering för att kunna användas, speciellt DTS som har just stöd för 24bit.

FLAC som är gratis och stöds av flera mjukvaruspelare (däribland VLC www.videolan.org) kan spela 24bit/192kHz filer, men även 24bit/96kHz FLAC har en ljudkvalitet som är bättre än de flesta format. Även om vinyl kan låta bättre på ett lämpligt system så har det knappast bättre prestanda än 24/192. Uppspelning av flerkanals filer i flac ska jag låta vara osagt men det ska tydligen funka upp till 8 stycken.

Ett exempel på en skivbutik som erbjuder upp till Studio Master 24/192 är Linn Records / eller HDtracks.com

Visserligen finns det idag redan möjligheter att sälja högkvalitativa CD/Hybrid-skivor som Philips/Sonys SACD (http://sv.wikipedia.org/wiki/Super_Audio_CD) eller HDCD(http://en.wikipedia.org/wiki/High_Definition_Compatible_Digital). Även DVD-Audio(http://en.wikipedia.org/wiki/DVD-Audio) har en rätt så stor potential och kan ses som konkurrent till bägge ovanstående skivformat. DVD-Audio stödjer upp till 24bit 192kHz (två kanaler) eller 5.1 i 24bit/96kHz. Problemet med DVD-Audio är att det inte stödjer mjukvaruuppspelning (även om det finns några program som har stött det som t.ex. Cyberlink PowerDVD 6, observera att den senaste versionen inte stödjer det, hmm..) utan måste spelas på kompatibla DVD-Audio spelare som endast kan spela upp signalen via sina 5.1 analogutgångar, hursomhelt gör vissa spelare detta med fantastiskt resultat.

En framtid vore att DVD-Audio formatet skulle släppas “fritt” som DVD-Video och göras mer lätttillgängligt (finns ju små tendenser till detta). Dessvärre kan man nog ana att 24bit lossless FLAC kommer att stödjas av ett flertal spelare på marknaden inom kommande år, om det nu inte redan stödjs. Detta skulle då konkurrera ut DVD-Audio eftersom FLAC (som är öppen källkod och gratis till kontrast till det dyra MLP som används av DVD-Audio) kan enkelt skapas, flyttas och distruberas och även vidareutvecklas. Detta skulle innebära för första gången en slags brytpunkt mellan konsumenters makt över sina format istället för underhållningsjättarnas. Dessutom skulle man förmoda att andra standarder som bygger på öppen källkod skulle lyckas rätt bra dom också i framtiden. vi får väl se…

Som det ser ut nu med Blue Ray formatet är det väl i princip möjligt att bränna den som DVD-Audio också och därmed kunna förlänga speltiden, men någon kompatibilitet med marknadens spelare är knappast att förvänta så lösningen torde vara mer smidigare med ett 32GB usb-minne och en FLAC fil (som man pluggar in i sin mediaspelare). Även om Blue Ray kan stoltsera med DTS-HD Master Audio samt Dolby TrueHD torde dessa vara lämpade för releaser ifrån stora filmbolag som har råd att licensiera sig för dessa, vilket ändå skulle bli samma ljudkvalitet som DVD-Audio bara lite fler kanaler. Dolby True HD skickar 14 kanaler (MLP) och DTS HD Master Audio kan skicka 8 kanaler 24bit/96kHz, dessutom bakåtkompatiblet med vanlig DTS.

Att Thomson med deras nya High Definition mp3, HDmp3 http://www.electronista.com/articles/09/03/20/thomson.launches.mp3hd/ (som egentilgen är FLAC lossless eller Apple Lossless etc..) skulle vinna mark är kanske inte helt omöjligt eftersom det är bakåtkompatibelt med mp3, dock vet man ju inte om det stödjer 24bit för kommande versioner vilket som är hela poängen med ett HD-format.

Att CD-skivan med 16bit/44.1 kHz inte kan tävla med LP/EP skivan är svårt att betvivla (CD-Audio formatet vinner egentligen bara på några punkter: att skivan är svårare att repa tack vare sin inbyggda felkorrigering, att den är mindre benägen att få en dålig kanalseparering och att den inte lider av wow or flutter som tidigare format gjorde). Däremot får LP/EP skivan det lite svårare med format som 24/96 och uppåt enl. min egna mening. Detta skulle göra att försäljning med högupplösta FLAC kommer att ha ett ljudmässigt kvalitets värde i framtiden, men dock ej fetisch-baserade som t.ex. nya releaser utgivna på kassett! kan ha.

Format som vi kanske har glömt är Sony’s Atrac format som fanns på de optiska
MiniDiscarna så det är helt klart möjligt att CDn går samma öde till mötes trots att formatet i sig marknadsfördes som det säkraste man kunde äga, lol..

Att komplettering av diverse konstnärliga och grafiska element är viktigt för att identifiera och förstärka musikens sammanhang och objektets värde är ju solklart och egentligen finns det väl ingen lösning på detta eftersom filernas icke-materialitet sätter oss i en konflikt mellan resurs och smidighet. Vad man skulle kunna göra är väl att släppa filer + en tryckt “artist book/edition”. Men det klart: det finns något i att det akustikprintade-ljudobjektet s.a.s. stoppas in i den konstnärliga utformningen och blir på något sätt en helhet, men med priset för sin plats i rummet istället för på hårddisken.

För att återkoppla till filer som ett grönare alternativ skulle vissa hävda att datorer drar ström och behöver hårddiskar/SSD/eller flashminnen för att lagra data. Men i ett vanligt svenskt hifi-hem idag finns det ändå en dator som används till mycket redan. Om den nu inte är på för att fungera som mediastation finns det många parallella uppgifter som datorn hanterar. T.ex. att surfa, kolla på TV samtidigt som man lyssna på en FLAC fil. Återanvändningen av resurser (lagring på en HD/USB stick) ger också varje fil väsentligt mindre miljöanspråk.

Att däremot hävda att datorer och FLAC filer skulle vara ett billigare alternativ vore att överdriva. De flesta har inte en dator med ett tillräckligt bra ljudkort som skulle producera ett bättre ljud jämfört med deras cd-spelare. Detta är dock under något slags skifte och håller väl på att skapa ett allmänt massbehov för detta. Länken mellan hem-dator och mediespelare är också något som växt fram under de senaste fem åren och det är väl få hifinördar som inte skulle förstå betydelsen av att ha ett usbuttag på framsidan av sin DVD/CD apparat om den skulle på något sätt stödja ett HD format som 24bit FLAC.

Resten ja, vi får väl nöja oss om det låter, är det nån som hör någon skillnad egentligen? nu när vi ändå har vant oss att acceptera youtubes “musikkvalitet.”

För några år sedan tog jag och lade in alla mina CD-skivor i tunna fodral istället för att ha dom i dessa otroligt fula akryl-hårdplast fodral som gick sönder så fort som man öppnade skivan. På det hela så tog det 10-15 gånger mindre plats. Det skulle vara skönt så här i efterhand att ha allt på ett usb minne än alla dessa förskräckliga plastfodral som inte bara var ett miljö-resurs-slöseri utan också tog en väldans massa onödig plats, men då hade också en massa kvaliteter gått förlorade i ritualer som att läsa i en inlaga samtidigt som man lyssnar på skivan.

Vad vi kanske får vänja oss vid är att vi får föra in andra data in i denna skivlyssningsritual som diverse youtube-klipp, forum/blogg poster eller flickr bilder på de senaste giggen för att skapa denna helhet och identitet för hur det låter och dess kopplingar till kultur, bild och språk osv…

Om cd:n har någon framtid? knappast troligt.. Boken överlevde magnetbandet och kommer överleva både cd och dvd, och antagligen iPaddan också ;)..

]]> http://tomasnygren.com/blog/?feed=rss2&p=512 http://tomasnygren.com/blog/?p=475 http://tomasnygren.com/blog/?p=475#comments Fri, 02 Apr 2010 21:23:20 +0000 admin http://tomasnygren.com/blog/?p=475

Puredyne is an Ubuntu-based Linux distribution aimed at creative people. It provides a number of creative applications, alongside a solid set of graphic, audio and video tools in a fast, minimal package. It includes software for everything an artist might need - from sound art to innovative film-making. Puredyne is optimised for use in real-time audio and video processing and it distinguishes itself by offering a low latency kernel and high responsiveness needed by artists working in this field.

http://puredyne.goto10.org/

but you can also use the canonical supported rt-kernel release ubuntu studio

http://ubuntustudio.org/

I’ve been using Debian for nearly ten years now, and I believe it is a good foundation to start from.  Unfortunately, the pure:dyne folks have a lot of work to do in order to customize their version to the same extent as dyne:bolic.  For example, where dyne:bolic has organized its apps and utilities into a very hierarchical menu system which makes it easy to find the function you want, even if you don’t know the name of the application, pure:dyne dumps everything into a single menu folder.  Unless you already know all of the multimedia apps you want to use, you have to spend a long time exploring to begin to be productive.  This is a minor complaint, of course, and otherwise pure:dyne looks like it would suit my purposes just fine.

When I tried to run Cinelerra on “leek and potato,” the latest pure:dyne release, I couldn’t get past loading my project.  This was due to the USB hard drive problem I’ve been having with certain kernel versions.  Pure:dyne, through no fault of its own, inherited the same issue.

At this point, not yet understanding the source of the problem, I gave up and moved on to Ubuntu Studio.  Since my drive worked with Ubuntu Hardy on another machine, I reasoned that UbuStu might work better.  Meanwhile, PD looks like a good distro which I would happily use again.  I expect it will be even better in future versions. by Kevin Kennedy //ref

and you can also use other rt verisons:

http://dynebolic.org/

http://www.64studio.com

http://www.apodio.org/

http://www.artistx.org/site2/

Sy en synt med Syntjuntan!
Delta i workshop 2 mars kl 19-22

Syntjuntan håller workshop för oinvigda, sykunniga, lödkolvsfobiker och alla andra som vill sy sin egen synt!
När syntarna är klara spelar vi tillsammans! Ni som vill kan medverka som förband till Syntjuntan och framföra ett nyskrivet stycke för era syntar på konserten den 3 mars!
Deltagaravgift 350:- (gäller också som inträde till konserten 3 mars)
Anmäl dig till elsy[ersätt med snabel-a]syntjuntan.se

Konsert med Syntjuntan
Juntaledarna Ann Rosén, Lise-Lotte Norelius och Ida Lundén spelar brutalsnygg musik på allehanda hemmasydda/byggda instrument.
3 mars kl 19.30
Entré 80:- Stud 60:-

Extra insatt workshop 4 mars, kl 18.00 (workshopen blir av när minst 10 deltagare är anmälda)
Syntjuntan
Ann Rosén, projektledare
www.syntjuntan.se

Lexikon-Sonate is an interactive realtime composition environment for musical composition and live performances. It takes advantage of composition algorithms that has been developed by Karlheinz Essl since 1985. With this algorithmic music generator on can easily create fascinating and complex musical structures on the fly. Furthermore, Lexikon-Sonate is an infinite music installation that can run on a computer for years without repeating itself. Finally, Lexikon-Sonate can be used as an instrument for live performance of electronic music. ref

http://www.essl.at/works/Lexikon-Sonate.html

vs. 3.3 - MacOS X 10.4 - 10.6
released: 22 Dec 2009 (Freeware)

Lexikon-Sonate is a work-in-progress which was started in 1992. Instead of being a composition in which the structure is fixed by notation, it manifests itself as a computer program that composes the piece - or, more precisely: an excerpt of a virtually endless piano piece - in real time. Lexikon-Sonate lacks two characteristics of a traditional piano piece:
there is no pre-composed text to be interpreted, and
there is no need for a pianist or an interpreter.
Instead, the instructions for playing the piano - the indication “which key should be pressed how quickly and held down for how long” - are directly generated by a computer program and transmitted immediately to a player piano (or the built-in Quicktime synthesizer) which executes them.

Navigation map of the electronic Lexikon-Roman
© 1992-98 by Libraries of the Mind

The title Lexikon-Sonate refers to the “Lexikon-Roman”, written in 1968-70 by the Austrian-Slovakian author Andreas Okopenko. This novel appears to be one of the very first literary HyperTexts, independently of Ted Nelson who introduced this term about the same time. This novel - “a sentimental journey to a meeting of exporters in Druden” (subtitle) - consists of several hundred small chapters which were brought into alphabetical order. By reference arrows as in a lexicon the reader could make her own investigations through the multiple nested web structure of the text. Instead of presenting a sequential text with a predefined direction of reading, Okopenko provides a structure of possibilities, which challenges the reader to become a creator of her own version of this novel.
Originally, Lexikon-Sonate was conceived as a musical commentary to an electronic implementation of Okopenko’s “Lexikon-Roman”, carried out by the interdisciplinary group “Libraries of the Mind”. But soon afterwards it started its own life due to its manifold ramifications, becoming an outstanding example in the domain of algorithmic composition. ref

The audio contains a demo, some reverb has been applied…
enjoy!

backup at archive.org

EXPERIMENTMUSIK OCH 16mm-FILM på Tellus biograf
Lördag 12 December 16:00-21:00, 50kr
Ny lågmäld levande experimentmusik av Martin Thulin och Lise-Lotte Norelius, experimentfilmsprogram med Åke Karlung, Sven Elfström och Claes Söderquist, foto/video-utställning och interaktiv analog ljudinstallation. mossiga upphittade 16mm-filmer från Kodak Hill i Jakobsberg,

Curator: Mats Lundell

16:00-21:00, I biograffoajen:

Mats Lundell:
Vitrum, videoinstallation.
16mm filminstallation: Samhällsmotivator, 16mm-loop svartvitt.
Ljudinstallation: Tonsås.

I Cafét:
Fotoutställning; Mats Lundell, Mirjam Norinder, Yann Robardey
Bildspel från Kodak Hill; Tomas Nygren
Filmvisning, upphittade  industriella 16mm-filmer från Kodak Hill i Jakobsberg:
Kodachrome 10min: Presentation av Kodachromelaboratoriet i Spånga 15min.
Laboratoriepersonalens liv i Kodachromelaboratoriet i Spånga 41min 1971.
Reklamfilm för Super-8, 3min.
Sven-Oskar, reklamfilm, 7min.
Photography at work, a progress report, 40min. (om industriell fotografering).
The use of the Beckman spectrophotometer for the analysis of developing agent and coupler in a Kodachrome magenta developer, 30min.
Quality in photographic paper 22 min, om tillverkningen av fotopapper, emulsion mm.

Kortfilmsprogram i biografsalongen, 16mm-film, 17:00-18:15
Sven Elfström: Skyddet. 12min.
Åke Karlung: Aliena Kadabra 5min 1969
“om oFria TeknoPornoSvin i den urgamla motsatsen - växlingen mellan aNarkopatisk Sensualism och frustrerad Disciplinism.”.
Homo Ludens 11min 1964
Mellan rödskinn och cowboys sitter Homo ludens, den lekande människan.
Claes Söderquist: Epitaf 32min 1979. Bilder som finns kvar av en människa som är borta. Känslor får sitt eget liv när minnen kommer i rörelse. Musik: Charlemagne Palestine, Foto: Lennart Karlsson, Ljud: Håkan Lindberg.
John Whitney: Permutations 1966 8 min, datoranimation.

19:00 i biografsalongen unik konsert i världsklass:
Martin Thulin och Lise-Lotte Norelius live: Instrumental akustisk/elektrisk musik.

Absurd decision on Obama makes a mockery of the Nobel peace prize

Mr Obama becomes the third sitting US President to receive the prize. The committee said today that he had “captured the world’s attention”. It is certainly true that his energy and aspirations have dazzled many of his supporters. Sadly, it seems they have so bedazzled the Norwegians that they can no longer separate hopes from achievement. The achievements of all previous winners have been diminished. ref

Obama wins Nobel after U.S. authors snubbed

Peter Englund, who replaced Horace Engdahl as the academy’s permanent secretary in June, told AP: “In most language areas … there are authors that really deserve and could get the Nobel Prize and that goes for the United States and the Americas, as well.” He added: “I think that is a problem. We tend to relate more easily to literature written in Europe and in the European tradition.”

Engdahl said last year that “Europe still is the center of the literary world” and U.S. authors were “too sensitive to trends in their own mass culture.”

Ouch. Maybe Obama can win it for the U.S. in literature, too, some day. ref

WTF? Obama Gets The Nobel Peace Prize?

After all, under President Obama, Guantanamo’s terrorist prison is still in operation and is holding people whom even the government admits are guilty of nothing. Under President Obama, the US has also blocked the Goldstone Report which condemns Israel of war crimes in its recent assault on Gaza. And under Obama, the US military in Afghanistan has continued to slaughter disproportionate numbers of civilians through its wanton use of aerial bombardment, pilotless Predator drones, and antipersonnel weaponry ref

Barack Obama’s peace prize starts a fight

But Bobby Muller, who won the Nobel Prize as co-founder of the International Campaign to Ban Landmines, told The Times: “I don’t have the highest regard for the thinking or process of the Nobel committee. Maybe Norway should give it to Sweden so they can more properly handle the Peace Prize along with all the other Nobel prizes.” ref

Svenska Freds Anna Ek comments (swe)

Nobel Peace Prize should be replaced by the better Right Livelihood prize

Every year the Swedish Parliament (Riksdag) decides on the budget for culture, sport and media. In 2009 the budget for the Ministry of Culture was approximately SEK 8 billion. Most of the budget is allocated to various government agencies, foundations, associations and companies. Many of these distribute grants to cultural workers, associations and organizations. ref

In her speech (21st Sept. 2009) on the new Swedish Culture government bill put special focus on:
* Artists as entrepreneurs
* Culture for children and youth
* Stop looking at commercial powers as something against culture
* Education projects engaging artists etc..
* Restructing cultural institutions
* Supporting the heritage

Video here (swe) culture government bill here (swe)

The new policy document was perhaps the first newly reconstructed policy in Swedish culture for 30 years, she said and continued by stating that its “time to leave the culture politics* of the 70s.. “ especially mentioning later as an example of this: the lifetime artists state-salaries supporting a few selected artists (around 170 artists, and most of them can support themselves anyway) which now is going to be history. (*with a tone reflecting something past from the socialist agenda)

In my personal view this political right cultural-elite-life-time salary was probably a royalist idea (or traditions from the catholic church back in medieval times) from the start..for example why in the heck does designer Jonas Bohlin need a pension of 18000 SEK/month in case he didn’t earn more than 250 000 SEK / year? he easily support himself regardeless anything. This money is blocked for ridiculous reasons and could be used to something better and in most cases the money is probably not used at all! which means that the state with this policy is faking a gift-ritual since they more or less selects artists that doesn’t need this in the first place, talking about false marketing!  More self-supporting bizarre examples: Jan Myrdal, Lena Cronqvist, Carl-Johan De Geer, Jan Håfström, Eric Ericson (totally increible why this guy need extra support), Roy Andersson etc.. There was actually not even much socialist policies with this you-are-ok-you-got-the-winner-life-time-salary anyway.

The consumers of culture was put to an interestingly special focus in that they will have a higher priority of deciding what to do and what is going to be produced. Meaning in the long run more money to those that work, less to artists (who often works part time), especially artists within experimental and non-traditional areas which nobody really want to pay a high entrance to anyway.

Well.. if consumerists would decide everything we could all end up with this kind of paintings. (below)
And the only art institution in Sweden we should have would be the National Museum..

The most statistically wanted painting in Denmark by Komar & Melamid

The old foundation “Framtidens Kultur” for supporting new culture projects (by applications) moves over to a new project “Kulturbryggan” (Culture bridge) with around the same budget (yearly 25+25 M Sek). We will se if the “Kulturbryggan” will support only new projects as in the past hence making it difficult for long term projects to survive as i.e. festivals and educational projects.

The Royal Opera will get some extra money (again doh..) to finally produce some contemporary stuff.. Dansens Hus get a cool pot of SEK 4M  to get some extra capacity, and to ensure the survival of the Cullberg Ballet.

Government priorities 2009 -

1. The right of children and young people to culture
Culture is essential for the development of children and young people. Knowledge of one’s own culture is also a prerequisite for understanding and appreciating the circumstances and values of others.

2. Cultural heritage for the future
Both the historical and contemporary cultural heritage must be preserved and passed on. They are an asset to present and future generations.

3. Innovative culture and internationalisation
Cultural creators must be offered good opportunities to develop their modes of expression
and reach their audiences. International exchange and cooperation must be stimulated.

4. Safeguard the freedom of expression and media diversity
Free and independent media are a prerequisite for a living democracy.

5. Free and independent sports movement
The objective is to encourage and provide opportunities for children, young people and adults to engage in physical exercise and sport with the aim of promoting good public health.

The culture institutions have the character of a certain “Spretighet”/sense of sprawling, she said in introducing the big re-arrangement policy for some of the larger cultural institutions: Rikskonserter (will not get any more money at all), Riksutställningar, Riksteatern, Svensk Form, Swedish Art Council etc.. Many of the new structures and services for these organizations will further be developed during the fall and the coming year, she said.. However the Swedish Art Council will get a larger commission much like the Royal Library got for the library structures in Sweden with this bill.

From one perspective one could say that a lots of all this 8 billions goes to, on one hand, preserve conservative ideas and structures, which is of course predicable and within the right wing agenda. As well as creating a pyramid structure which in many ways tries to create the illusion of choice, freedom and liberty since many instances of consumerism tends to stupify people in that they will select what is basically already known and established. However on the other hand the proposal might though improve the cultural institutions a bit which of course is a contra-move from socialist strategies to create large complexes which in many ways end up being storage places for “head of xxx” and culminate as administrative monsters (Roman empire model) which weakens the contact to the real production of culture.

One might ask an important question: if the notion of artists as entrepreneurs is so damn important why is it not possible to create better rules for part-time employment in the culture sector? As well as other new supporting rules for having a small company at the same time having part-time unemployment. As it is today its like a switch: Unemployed or company (not both!). One might see that its a beneficial economic strategy for a right wing government to make artists as small companies and to stand without social support when it comes to unemployment. To make tax reductions for companies doing cultural investments could also clearly benefit the situation as well as having a stronger 1% rule for public art in the development of new building projects. One might say that concerning the present conditions in Sweden are still indeed today too socialistic to even try to see some possibilities in the entrepreneur possibilities before some of the tax and other laws could change.

The answer Lena Adelsohn Liljeroth delivers for the question: “why not many artists acts more as entrepreneurs” is in her view linked to knowledge, and should be part of some educational policy. This I think is not really true. The reality to the answer is more linked to a bizarre tax and social security rule system that just makes it a jungle to understand and to use. For instance why does artists that work with photography have to sell photographs with a 25% tax instead of painters with a 16% tax?? This rule itself implies that real art is not yet photography (sorry but this answer was cleared out 40 years ago… they do have the same status)

Supporting consumers also clearly makes a supporting structure for sex and violence (trash culture?) as in comparison to the socialist ideals supporting in some terms religious and life learning outcomes. Culture consumerism relates to the idea of culture as entertainment. Then using culture as tools for entertainment might lead to a weakened self-image which has its only support in the commercial world. We will get wandering consumers with a lost self trying to consume back its lost identity.

However what we have seen in central European culture production is that a piece of entrepreneur inside the artists might also lead to a slight more energetic motivation against passivity from socialist support structures in life-time state salaries. For if one compares Swedish art production against for instance German the difference might just be that Germany has a higher knowledge and respect towards artists due to educational efforts in children and youth. But this quality difference is clearly a result of non-economical terms as well since culture don’t just flourish with lots of money (as Liljeroth mentions: Culture is bigger than the budget laid by the Ministy of Culture). Would it be possible to generate various support structures in economical terms of i.e. Kunsthalle solutions with i.e. adjustmed tax laws for the supporters. Is it just a coincidence that some of our top artists today live outside the country i.e. Nathalie Djurberg?

For example: Is there something to it that Sweden never really had any great philosophers (except Swedenborg which was more linked to spiritual philosophy and Ingemar Hedenius more involved with critical theology not included) we always looked on what the other guys were doing. Breaking this kind of tradition of self-image and stagnation would be an enormous step for Swedish culture. One way of doing this would be not to focus too much on the heritage but to, why not, establish at new inspiring long term production of culture in some important areas with possibilities for many* which many other countries would admire for years to come (well lots of this is already happening in Norway).

*One way of starting would be to raise the appreciation of culture and artists in making relevant contributions and schedule time in the elementary schools.

Its incredible when I think back on my own elementary education (in the 1980s) concerning the teaching subject “Bild” / “Image” which we had often on fridays and the last hours of the day. Why was it not called “Konst”/”Art”. This says a lot of the Swedish attitude to the culture subject in general and the school system as storage is a concept that is not far off.

Maud Olofsson (Ministry of Industry) och Lena Adelsohn Liljeroth (Ministry of Culture) presents the investment in cultural and creative industries, September 17, 2009 video here

culture government bill here (swe) short version in english here

However stated by Benjamin Fulford the new regime shift might bring some hope on the battle.

08/28/2009
Now, the institutions that made the West strong have all been subverted and perverted. Scientific journals have been taken over by a cabal of financiers who use a non-transparent process of “peer review” to suppress discovery that is inconvenient to the cabal’s financial interests. At some point science developed “laws” that could not be broken, evidence be damned. Science, by its very definition is supposed to be a work in progress based on evidence and facts not “unbreakable laws.”

Inventors who break any of these “laws” (such as the so-called second law of thermodynamics) are, if necessary, murdered.

Once we have purged these parasites from the collective brain of the West and science is again set free,  world civilization will flourish as never before. That day, fortunately for us all, is close.

http://benjaminfulford.typepad.com/benjaminfulford/

Honda FCX Clarity Named 2009 World Green Car

The FCX Clarity, a sleekly styled hydrogen fuel cell-powered sedan currently available on a limited lease-basis, is propelled by an electric motor that runs on electricity generated by an on-board fuel cell stack. The vehicle’s only emission is water, and its fuel efficiency is up to three times that of a modern gasoline-powered automobile and two times that of a gasoline-powered hybrid vehicle.  ref

————

similar episodes are playing out all over the place:

Within a few weeks, Bedini was visited by two thugs who were definitely unfriendly toward his efforts to unhook from today’s power structures. They had the appearance of body-builders who had just stepped out of a gymnasium, and pushed him against his shop wall while saying in a threatening manner that they expect he will continue to use gasoline. He laughs shortly while recalling the incident, but evidently knew they were serious.
Now that he has moved to Idaho, the reason “they” don’t bother Bedini any more, he figures, is that he limits his models to toy-size. His model collection only demonstrates a principle–that he believes could power a house if scaled up in size. The principle involves storing discharged pulses of energy that are created while doing work with previously stored energy. The sequence is “do the work, discharge, do the work, discharge” and so on. ref

We hypothesize that two factors explain the nine conundrums: vitamin D’s seasonal and population effects on innate immunity, and the presence of a subpopulation of “good infectors.” If true, our revision of Edgar Hope-Simpson’s theory has profound implications for the prevention of influenza. ref

HOW TO GET ENOUGH VITAMIN D
There are 3 ways for adults to insure adequate levels of vitamin D:
regularly receive midday sun exposure in the late spring, summer, and early fall, exposing as much of the skin as possible.
regularly use a sun bed (avoiding sunburn) during the colder months.
take 5,000 IU per day for three months, then obtain a 25-hydroxyvitamin D test. Adjust your dosage so that blood levels are between 50–80 ng/mL (or 125–200 nM/L) year-round. ref

Should I take Vitamin D to prevent the H1N1 flu? If so, how much?
Take enough Vitamin D3 to get your 25(OH)D level above substrate starvation levels (50 ng/mL or 125 nmol/L). Levels of 50 ng/mL usually require at least 5,000 IU per day for adults, some adults will require more. Children should take 1,000 IU per every 25 pounds of body weight. After taking this dose for 3 months test your 25(OH)D level. Individual variation in dose response is great and natural 25(OH)D levels (50–70 ng/mL) are not assured by these doses. For reasons I will discuss below, I think it possible that Vitamin D levels of 30 ng/mL, which are often obtained by people taking low doses of Vitamin D (1,000–2,000 IU/day), may increase your risk of death from a 1918-like influenza virus.
ref or archived vitamin-d-newsletter-may-2009-h1n1-flu-and-vitamin-d

A note according to the sun exposure: you have to be out in the sun when it is the strongest 11.00-13.00 but 20 minutes with face and arms exposure in the sun makes the D-Vitamines for the whole day, or if you have full body exposure 5 minutes is enough. mp3 interviewed Dr. John Cannell ref

see also John Jacob Cannell’s (MD)  http://www.vitamindcouncil.org

D-vitamin
Fet fisk är en bra källa till både omega 3 och D-vitamin. Nyligen publicerades Mats Humbles artikel om D-vitamin i Läkartidningen. Här skriver Mats Humble att D-vitamin kan ha en stark koppling till depression och att vi kan ha förbisett vitaminets skyddande effekt.

Förutom fet fisk och mjölk är även vanligt solljus en bra källa till D-vitamin. Om vi utsätts för solljus i cirka 20 minuter per dag bildar kroppen automatiskt tillräcklig mängd D-vitamin.
Mats Humble menar därför att vi i Sverige (åtminstone under den mörka årstiden) får i oss för lite vitamin D och att det kan vara en förklaring till att så många svenskar lider av depression.

- Jag upptäckte D-vitaminets effekter i mitt arbete som psykiatriker då jag träffade patienter där traditionell antidepressiv behandling inte fick väntad effekt. Vi började söka komplement till medicineringen och upptäckte att maten kan spela en stor roll.

Mats Humble märkte att hans patienter sällan åt fet fisk och rekommenderade dem att äta mer av det. De som inte ville öka mängden fisk fick omega 3-kapslar och samtliga mådde efter en period något bättre. ref

Gabriele Stähler

Vitamin D is the principal regulator of calcium homeostasis in the body, and it is essential for skeletal development and for bone mineralization.* A number of studies have reported significant benefits from supplemental vitamin D in supporting bone health.* Along with the classic role it plays in regulation of bone mineralization and serum calcium levels, vitamin D has been increasingly recognized to play important roles in the regulation of blood sugar within normal levels, and supporting normal muscle strength, the health of connective tissue, and the gastrointestinal, immune, circulatory, and respiratory systems. ref

—

Swedish resources to buy Vitamin D3 online:

www.dinlivskraft.se (price 110SEK, 90pcs, 1000 IU/IE - equals 1.22 SEK/1000 IU)

www.halsokostgrossisten.se (129 SEK, 90pcs, 2000 IU/IE - equals 0.716 SEK/1000 IU)

H1N1 in Swedish media (of course no one dare to talk about D3 supplements…)

DN1,DN2, DN3, SVD1, SVD2, SVD3

updated nov 12 2009

NEJM Volume 361:1945-1952    November 12, 2009     Number 20

Cross-Reactive Antibody Responses to the 2009 Pandemic H1N1 Influenza Virus

Conclusions Vaccination with recent seasonal nonadjuvanted or adjuvanted influenza vaccines induced little or no cross-reactive antibody response to 2009 H1N1 in any age group. Persons under the age of 30 years had little evidence of cross-reactive antibodies to the pandemic virus. However, a proportion of older adults had preexisting cross-reactive antibodies. ref

The data from our study indicate that vaccination with contemporary seasonal influenza vaccines, even when formulated with oil-in-water adjuvants, provide little or no benefit to any age group with respect to an increase in cross-reactive neutralizing antibodies against 2009 H1N1. These findings are consistent with the substantial degree of genetic divergence of the pandemic H1N1 viruses of swine origin, as compared with recent seasonal human H1N1 viruses.2 Although adjuvants enhanced serologic cross-clade reactivity of H5N1 two-dose vaccines, the degree of genetic identity between H5N1 clades is considerably higher (96 to 97%) than that for the pandemic H1N1 and seasonal H1N1 viruses. ref

Additions on vaccine toxines for 2009 H1N1 and Oseltamivir:

UPPDATERING 18 AUG 2010:
Misstänkt samband mellan influensavaccin och sömnsjuka

Läkaren i södra Sverige är enligt Läkemedelsverket specialist på narkolepsi. Därför tar myndigheten de rapporter som nu kommit in på stort allvar och en expertgrupp ska granska om sömnsjukan kan vara en bieffekt av svininfluensavaccinet.

Det är sex barn mellan 12 och 16 år som efter noggrann läkarutredning diagnostiserats med sjukdomen. Samtliga hade en eller två månader tidigare fått just Pandemrix och det gör att Läkemedelsverket inte kan utesluta ett samband.

– Det är vad vi kallar en signal som vi måste utreda så långt det går. Men vi vet fortfarande inte om det finns ett samband eller inte, säger Lennart Forslund, läkare och gruppchef för medicinsk information på Läkemedelsverket, till SvD.se. ref arkiverad: n1h1-vaccin-somnsjuka

Now when have seen the healthy process of phasing out the toxic antiseptic and antifungal agent Thiomersal in vaccines, the product Pandemrix from Glaxo Smith Kline now have been reported to contain it, ehh?

Thiomersal is very toxic by inhalation, ingestion, and in contact with skin (EC hazard symbol T+), with a danger of cumulative effects. It is also very toxic to aquatic organisms and may cause long-term adverse effects in aquatic environments (EC hazard symbol N).[8] In the body, it is metabolized or degraded to ethylmercury (C2H5Hg+) and thiosalicylate.[2] ref

Allergies
Thiomersal is used in patch testing for people who have dermatitis, conjunctivitis, and other potentially allergic reactions. A 2007 study in Norway found that 1.9% of adults had a positive patch test reaction to thiomersal;[12] a higher prevalence of contact allergy (up to 6.6%) was observed in German populations.[13] Thiomersal-sensitive individuals can receive intramuscular rather than subcutaneous immunization,[14] so contact allergy is usually clinically irrelevant.[13] Thiomersal allergy has decreased in Denmark, probably because of its exclusion from vaccines there.[15] ref

recommendation for people who takes the vaccine would be to directly afterwards drink a lots of de-tox teas and other stuff, lots of water etc..

Svenska smittskyddsinstitutet säger dock, hmm..:
“Tidigare använding av kvicksilverföreningar i vaccinerna hade inga påvisbara negativa effekter, men allmänna miljöhänsyn har lett till att kvicksilverhaltiga konserveringsmedel tagits bort ur vaccinerna.” ref

“..Enligt livsmedelsverket är 1.6 ug/kg gränsvärdet för barn i veckan (metylkvicksilver, här är det dock etylkvicksilver som är ännu värre). Vaccinet innehåller runt 30 ug och ges i sprutform, vilket innebär mångdubblad skadeverkning .. .. Kvicksilver är totalförbjudet i allt utom lågenergilampor, lysrör och saker vi skjuter in i blodet … Är det konsekvent när det går att göra utan etylkvicksilver?..” kommentar Jocce Hedberg ref

“..Professor Maths Berlin anser dock att gravida och barn definitivt skall avstå från att vaccineras med Pandemrix.

- Jag anser att riskerna att få men för livet är för stora för barnen. Även som vuxen skall man avstå från vaccinet om man är känslig för kvicksilver. När myndigheterna påstår att vaccinet är säkert då lurar man folk. Myndigheterna måste helt enkelt ta fram ett kvicksilverfritt alternativ för barn och gravida kvinnor, menar Berlin..” ref

circulaire_vaccination_090824
(google translation in raw text french_antivirus_plans_google_auto_translate2009)

This 19 page document, leaked from the French Ministry of the Interior, seems genuine. We invite all French speakers to take a very close look. It appears to detail plans for the vaccination of the whole country between October and January.

It’s extremely probable that if such plans exist, they will be co-ordinated between all European countries - and very likely all other countries under the governance of the WHO, including the US ref

Halted: The 1976 US swine flu campaign ref

“..In 1976, a massive inoculation campaign to 40 million people of a hastily prepared swine flu vaccine in response to an imagined threat from a pig flu (the prevailing theory of the time was that pigs served as mixing vessels for emerging pandemic strains) appears to have led to close to 1,000 cases of ascending paralysis (Guillain-Barre Syndrome) in those who recieved the vaccine. This is a mistake we should learn from and not make again. But the hysterical concerns about H5N1 in 2006 suggests that we haven’t learned enough..”

Dr. Lone Simonsen quote: ref

Forced vaccinations: a whistleblower’s clear warning - reposted by Project Camelot

BELL TOLLING for the Swine Flu (CAMPANAS por la gripe A) subtitled from ALISH on Vimeo.

Swine flu jab link to killer nerve disease: Leaked letter reveals concern of neurologists over 25 deaths in America
A warning that the new swine flu jab is linked to a deadly nerve disease has been sent by the Government to senior neurologists in a confidential letter.
The letter from the Health Protection Agency, the official body that oversees public health, has been leaked to The Mail on Sunday, leading to demands to know why the information has not been given to the public before the vaccination of millions of people, including children, begins. Read more: ref

Professor Chinnery said: ‘During the last swine flu pandemic, it was observed that there was an increased frequency of cases of GBS (Guillain-Barre Syndrome). No one knows whether it was the virus or the vaccine that caused this. ref

* More people died from the vaccination than from swine flu.
* 500 cases of GBS were detected.
* The vaccine may have increased the risk of contracting GBS by eight times.
* The vaccine was withdrawn after just ten weeks when the link with GBS became clear.
* The US Government was forced to pay out millions of dollars to those affected. ref

The vaccines used to combat an expected swine influenza pandemic in 1976 were shown to be associated with GBS and were withdrawn from use ref

Study: Tamiflu* causes nausea and nightmares in children
More than half of children taking antiviral drug Tamiflu suffer side-effects such as nausea, insomnia and nightmares, UK researchers have said.
Two studies from experts at the Health Protection Agency (HPA) showed a “high proportion” of British schoolchildren reporting problems after taking the anti-viral drug.
Data was collected from children at three schools in London and one in south west England who were given Tamiflu earlier this year after classmates became infected. ref

Japan is now advising against prescribing Tamiflu to youngsters aged 10 to 19 after its own studies revealed people reporting psychiatric symptoms, according to media reports. ref

“Influenza may itself cause psychological problems” /Roche

Tamiflu contains the active ingredient: Oseltamivir
According to the CDC 99.6% of all seasonal H1N1 flu strains tested are resistant to Tamiflu but only 5 virus samples of pandemic flu currently have thus far shown any signs of resistance. ref

..the study found that children who took oseltamivir were 54 percent more likely to exhibit abnormal behaviour than those who did not take the drug. When the team limited its analysis to children who had displayed serious abnormal behaviour that led to injury or death, it found those who had taken oseltamivir were 25 per cent more likely to behave unusually.. ref
Som en motreaktion på läkemedelsföretagens massvaccinationsprogram har röster höjts för att utreda om alternativ medicin kan hjälpa för att lindra svininfluensan. ref
Skvalen: Den ruskiga hemligheten bakom svininfluensevaccinet avslöjad
Oljebaserad vaccinationsadjuvans som skvalen har bevisats generera koncentrerade, bestående immunförsvarsreaktioner en lång tid framåt.
I en studie år 2000 publiserad i ”the American Journal of Pathology” visades att en enda injektion av adjuvansen skvalen i råttor orsakade ”kroniska, immunrelaterade sammanhängande specifika inflammationer”, även kallade RA (reumatoid arthritis). ref

Gulfkrigsveteraner med Gulf War Syndrome (GWS) fick mjältbrandsvaccin vilket innehöll skvalen. MF 59 (Novartis skvalen adjuvans) var en icke godkänd ingrediens i detta experimentella mjältbrandsvaccin och har sedan dess kopplats till denna ödesdigra autoimmuna sjukdom som ett oräkneligt antal Gulfkrigsveteraner lider av.

Försvarsdepartementet gjorde alla försök att förneka att skvalen faktiskt var en gifttillsats i mjältbrandsvaccinet som tilldelades det Persiska Gulfkrigets militära personal – anställda eller icke anställda – så väl som deltagare i det senare Anthrax Vaccine Immunization Program (AVIP).

FDA avslöjade emellertid närvaron av skvalen i speciella partier av AVIP produkten. En test utvecklades för att spåra anti-skvalen antikroppar i GWS patienter och en tydlig koppling knöts mellan den förgiftade produkten och alla som led av GWS och som hade blivit injecerade med vaccin innehållande skvalen. ref

Vad kan du göra för att skydda dig själv och din familj
- Uteslut socker samt mat av hel- och halvfabrikat. Sockerkonsumtion har en omedelbar försvagningseffekt på ditt immunförsvar.
- Intag högkvalitativt animalbaserat Omega-3-fett som krillolja.
- Motionera. Ditt immunförsvar behöver bra cirkulation för att kunna fungera som bäst.
- Optimera D-vitamin nivåerna i kroppen. D-vitaminbrist är den troligaste orsaken till säsongsinfluensa. Genom att uppnå en optimal nivå av D-vitamin får du hjälp att ta hand om alla typer utav infektioner i kroppen.
- Se till att få tillräckligt med kvalitativ sömn.
- Handskas effektivt med stress. Om du känner dig överröst av stress, kommer din kropp att sakna de reserver som krävs för att bekämpa infektion.
- Tvätta händerna. Inte med en anti-bakteriel tvål. Använd en ren tvål utan kemikalier. ref

ref Annika Linde, Smittskyddsinstitutet

Smittskyddsinstitutet.se anser att N1H1 är en mild och okomplicerad influensa
..Framförallt jämfört med Spanska sjukan 1918 verkar den nya influensan ha ett lindrigare förlopp hos de flesta.. ref

..Endast Nya Zeeland har presenterat beräkningar på hur många som smittats under det första utbrottet där, som nu i stort sett är över. Det rör sig om 11 procent av befolkningen, ungefär 450 000 människor. Av dessa har 17 dött av den nya influensan och ytterligare ett par dödsfall kan vara influensaorsakade. Det blir ungefär 1/20 000 smittade, och det är sannolikt den säkraste siffra som finns från ett land som är jämförbart med Sverige…

–> Alltså 1 på 200000 - 235000 dör i influensan vilket inte är så märkvärdigt om man jämför med en vanlig influensa.

Artikel i arbetarbladet
“..Är svininfluensan farligare än annan influensa? Är det fler som dör?
Nej. I en vanlig influensa dör 1 000-2 000 personer varje år*. I den nya influensan räknar man med kanske bara en tiondel så många dödsfall. Skillnaden är att det i vanliga fall är äldre, sjuka personer som drabbas. Nu är det yngre, relativt friska personer som dör…” ref

–> Alltså H1Hi är 26-50 ggr mildare** än en vanlig influensa.
*samma siffror visar Annika Linde här och Dr. Lone Simonsen här
**om man bortser ifrån att det drabbar vissa unga mer

—> Räknar man med placeboeffekten så torde denna effekt vara betydligt effektivare att bota både influensa och utrensning av de gifter som en eventuell vaccinering/tamiflu för med sig

see also this site, might be interesting (SWE) http://www.vaccinationsfaran.se/
or this one www.theflucase.com

click here for a really-high-res version (warning: 8.5mb jpg)

At EMS (Electro Acoustic Music in Sweden) KB have now started an ambitions project into digitalizing EMS production archive at 24/96 as for magnetic tapes and available resolutions for DAT/CD.

The process also includes a new hierarchical database system and provides MD5 checksums for future file security and migration.

Taking part of this process is indeed exiting and provides overview and insight of the issues of future archival projects for many other archives around in the country. The project initiated according to SFS 2005:1093, and “projekt Öppna samlingar” at the Royal Library.

An interesting example of an analog tape with 3 x 1/4″ center spools inside it!

Many DAT’s are still in a very good condition however the DAT format was made initially for consumer market which in some terms made it sensitive to mechanical disturbances. This can be heard in some cases as digital “scratches”…

Mats Lundell inspecting titles on analog tape

Instruction document for the vintage Programmed Data Processor (PDP) at EMS (hillarious fun) in Swedish:

Perspectives of Music Production - Podcast - 1h 33′46”
Day: Thursday, March 5
Location: Cinema - Kino
Time: 12:00 (12 AM, Noon)

Seminar: Perspectives of Music Production
Curated by John Corbett (Chicago)
Johan Berthling (Häpna [SWE] www.hapna.com), Stephane Berland (Ayler Records [SWE/FRA] www.ayler.com), Jocke Nordwall (iDEAL Recordings [SWE] www.idealrecordings.com), Marek Winiarski (NotTwo records [POL] www.nottwo.com)

Recording from the Perspectives 2009 festival in Västerås (I’m a co-producer of)

http://www.perspectivesfestival.com

co-producer and will provide a poster exhibit there as well!

see you 5-7 March in Västerås!

event page at lastfm

event page at facebook

event page at freejazz.org

Artists (some of them):
Filament (JPN/JPN), Akira Sakata Trio (JPN/USA/USA), Mats Gustafsson (SWE), Peter Brötzmann solo (GER), Barry Guy (GRB) & Maya Homburg (CHE), Taku Unami (JPN), Raymond Strid (SWE), Jacob Riis (DNK), Liudas Mockunas (LVA), Cor Fuhler solo (NLD), Clayton Thomas solo (AUS), Lokomotiv Konkret (SWE), Hankil Ryu (KOR) & DIEB 13 (AUT), Perspectives Meeting (SWE/DNK/JPN/JPN/SWE), Correction (SWE), Xavier Charles solo (FRA), Peter Evans solo (USA), Marilyn Crispell (USA) w. Lina Nyberg (SWE), Palle Danielsson (SWE), Joakim Milder (SWE), Raymond Strid (SWE) w. Pat Thomas (SWE), Clayton Thomas (AUS), Peter Brötzmann (GER) w. Toshinori Kondo (JPN), Massimo Pupillo (ITA), Paal Nilssen-Love (NOR), Hijokaidan (JPN), Silent Block (FRA), Hild Sofie Tafjord (NOR), Grenager (NOR) & Jernberg (SWE), Lindha Kallerdahl “Friends of the Tiger” (SWE), Sven-Åke Johansson (GER), Borbetomagus (USA)

Participating in a group show in Västerås:

AllReadyMade

7-29 March 2009

my catalog text (SWE)

I denna utställning om readymades har jag valt att visa ett porträtt på en vit perukduva (Jacobin Pigeon). Bilden tillhör en porträttserie som jag gjorde hos en perukduveavlare i södra Sverige under 2006. Serien var använd i en installation i tre delar på Norrby kyrka utanför Sala.
Duvan har idag en rätt så genomgående homogen symbolisk betydelse världen över. Fredsbetydelsen torde vara den starkaste, kanske på grund av att duvpar håller ihop hela livet och är relativt försiktiga i sitt beteende jämfört med andra
fåglar. I fredssymbolismen kommer också andra begrepp fram som t.ex. frihet, universalitet och rättfärdighet. Fåglar som generellt har betecknats som symboler för frihet flygande fritt i naturen.

Duvavlandet har troligtvis en historia som sträcker sig längre än 3000 år fKr. Perukduvan har sitt ursprung i den asiatiska klippduvan (Columba livia) och perukduvan var populär att avla också bland munkar i Europa som duvan har fått sitt namn av: den typiska munkhuvan.

Man blir fascinerad över perukduvans speciella uppåtgående nackfjädrar. Den säregna peruken ser ut att vara på något sätt en omöjlighet. Duvan kan inte på något sätt klara sig ute i naturen, på grund av det begränsade synfältet, utan är helt beroende att vara belägen i ett duvslag, med kanske små enstaka flygturer ute i det fria, förmodligen under ständig uppsikt av resp. duvslagsinnehavare.
Att vara beroende att leva i ett duvslag kan dock innebära vissa bekvämligheter som t.ex. gratis mat och reguljär kontroll av hälsa såväl överlevnad av ungar. Dräkten, trots sitt inskränkande av duvans frihet har visat sig vara en bra överlevnadsstrategi eftersom dess skönhet och ståtlighet fortsätter att fascinera människor som definierat denna duvas frihet i ett sammanhang som är egentligen mer kulturellt och estetiskt förknippat än de egenskaper som den ursprungliga duvsorten hade sig tillägnat. Man kan säga att dess överlevnad är helt beroende på människans behov av vackra föremål.

Människan har skapat en symbolik för fred och frihet med hjälp av duvan men samtidigt utvecklat på grund av estetiska grundval en symbol för icke-frihet i perukduvan.

Late Fall 2008

Fall 2008

Visitors as well as locals might be curious about this (cryph-)temporary monument. Could it be made by some American minimalist? or is it some strange remaining from a workshop?

Display started in June 2008.

A popular Skeppsholmen motive, it might be famous, better to have a shot of it. Summer 2008

The arrangement was made out of left-over material from the Swedish Design Award’s scene decoration at Berns, this version featuring sections intertwined.

Curator: Gabriela Lopez, Svensk Form

http://www.weld.se
http://www.nutidamusik.se

Audiocast: Discussion is held in Swedish.

Erik Wallrup, redaktör, musikforskare och författare, inleder kvällen med egna reflektioner kring musikkritiken i media.

Därefter följer ett panelsamtal med Thomas Anderberg, filosof och musikkritiker i DN, Sophie Allgårdh, redaktör för Paletten och konstkritiker i SvD, Camilla Lundberg, musikchef i Svt. Samtalsledare är Andreas Engström, redaktör för Nutida Musik.

I samband med kvällen releasar Nutida Musik sitt nya temanummer om musikkritik.

Nothing new: Musical criticism (of contemporary art music) has become more specialized and has found itself to be almost gone from major news papers as Svenska Dagbladet (SVD) or Dagens Nyheter (DN). The development in europe as in i.e. Guardian and Times has ended up in even shorter articles (read: notices), placed inside the news section. Le Monde doesn’t write about it at all. American news papers face the same development, and things are though getting worse. Instead, criticism in the papers is replaced by short announcements and no in-depth formulations at its best.

The critical articles have to be found in specialized art-music magazines which in addition often serves as polemical greenhouses keeping new seeds for the scene to debate, identify and self-reconnect with.

Well, as we can hear most of the people in the panel are in some way worried with this dilution of “quality” and “degeneration” in the musical criticism today…

Erik Wallrup proposes that the material produced in blogs can not measure itself to the demands in printed matter. I guess he has a strong point in this, but at the same time this attitude also lacks some flexibility and still maintains old-style hierarchy, which he still in some sense tries to criticize.

Wallrup concludes with the solutions that publishers might impose some slight appealing future in music criticism (book form), newspapers not, as well as academic research since the last two has to do more with economic dependency than something else.

Thomas Anderberg: “the critic has other tasks than mirror his own interests in the music world”

Chief Paletten editor Sophie Allgårdh asks softly middle in the discussion “so what is this with art music, does it demand to be educated in a musical academy, compared to sound art?”
Camilla Lundberg (head of music section at SVT) however answers this issue indirectly in stating that art music takes time to digest opposed to other areas in fine arts (so one might get the impression that something is though better than something else).

Was there something lost in the discussion, when bloggers nowadays call newspapers for “gammel-media / oldie-media” and in fact the discussion was in some form held between middle aged people that stand on the other side (3rd person perspective, and non users) of the web 2.0.?

Writing about music in i.e. Web 2.0 environments (blogs/forums/comments) could impose that even though the sharpness and length of such “after sought criticism” would indeed boil down to a shorter and “freestyle forum” character, it could though make it possible to generate a fair game since art of course do have the potential of parallel interpretation and would even improve without the well established critics that in this case need to stand up harder in the wind of public reflection. The critics’ opinion might serve well, however with some interaction it would be even better.

———————————————————————————–

Controversial artists have often been brought to a resistant public by prominent critics. Clement Greenberg did it for Jackson Pollock. John Ruskin did it for Turner. But are there now critics of sufficient authority to perform this role? guardian.co.uk staff , ref

Can we rely on the bloggers to bring vital if alienating art to a wide audience? The conviction that educated taste is an elitist ruse, that one opinion is as good as another, and that we should take our lead for our cultural life solely from people like us might seem like an instance of “people power”. Yet the death of the critic is to be mourned. If we only listen to those who already share our proclivities and interests, the supposed critical democracy will lead to a dangerous attenuation of taste and conservatism of judgment. Without critics of authority, the size and variety of contemporary criticism may ultimately serve the cause of cultural banality and uniformity. ref

Rónán McDonald has written the book The Death of the Critic (amazon link)

Some comments on Rónán McDonald’s article:

“The critic-as-instructor, as objective judge and expert…” never really existed. All critics, pro or amateur, bring their own prejudices, narrowness of outlook and knowledge to bear on the subject matter, because there is no omniscient alternative. You like some critics and dislike others, just as you like/dislike/whatever the work upon which comment is being passed.  alisdaircameron, ref

Agree with FRVessant (2:27) about those academic critics who write in mangled, jargon-ridden English. They do so because they feel they will not get on in their profession otherwise. They produce their justifications - difficult ideas need difficult language etc - but it won’t wash. It seems that no amount of derision will stop them, so maybe there should be a law. I think that there is, in Italy, a law that penalises “public abuse of the national language”. A law like that for English-speaking countries might discourage academics from writing things like “They stand in a relationship of mutual complementarity”. MichaelBulley, ref

Audio backup at archive.org

Skype presentation of some works and their relation to my experimental piece Rearranged Movement (RM) (1999 Malmö, 2006 St. Petersburg)

The Architecture of Movement Festival (ARMV) in Yaroslav is coordinated by Anastasia Proshutinskaya which also translated live the presentation to the attentive audience.

By means of festival we aim to unite different creative initiatives in the frameworks of interdisciplinary project; research an interaction between city space, architecture, landscape and human body and movements; change the city space and the perception of it through different art movements and actions.

Some crucial implications in the piece (RM) that were of architectural concern was brought up.

For instance the remark of french architectural theory in the 18th century were this new architecture could create new sensation upon it can check/stop bodily movement. And from these new sensations you would end up , logically, to new ideas and reflections upon the world and so on..

Political as well as some issues on consciousness was brought up to the surface.

Questions in the audience were asked i.e. on the role of audience, placement of work etc. they will be answered in detial in this post later.

1/4000 f16 unfiltered, ISO 100, heavy flares though

ref. image >>>

1/4000 f40, ISO 100,  - orange + Pol-Cir (1 stop) + ND8

Photo: Tomas Nygren

Pacman!

However were are all the sunspots?

July 25, 2008 - Our Spotless Sun Puzzles Scientists.  Report upcoming.
No sunspots in sight on July 25, 2008,
months into what is supposed to be the new Solar Cycle 24
and its upcoming 2010 to 2012 Solar Maximum. Is it an unusual quiet
before the storms begin? Or is this the beginning of a very
low-energy solar cycle? Image courtesy  SOHO. ref

Fringe aims to strengthen the local scene for new media practitioners in Stockholm.

By new media practitioners we mean people who are using technology (computers, analog and digital electronics, physical computing, etc) as a material to produce some sort of works (art, design, architecture, music, visuals, etc). We are not talking about “new media” in the sense of cross-media advertising productions or stuff like that.

I did a 30 minute talk at Fringe 0004 at the Interactive Institute 10 April 2008 showing some of my installations and cross-linking to the archetype of the hanging man tarot card no. 12.

Presented works were:
Party for the Rabbit
Peak Performance
Best in Show
Vegetation Series

 ”..but theres is also this Gothicness into it as well. As the Church.. The little house and the gallery as the little Stuga with the little lights.. ” Alberto Frigo

audio backup at archive.org

Who owns the rights to artistic work in today’s information-based economy? How can one as an artist or producer of culture position oneself in relation to the existing regimes of copyright and the distribution of material and non-material products?

The project Who Makes and Owns Your Work has grown out of a year-long discussion held during the Open Content meetings which centred on ownership, distribution and forms of sharing within contemporary cultural and knowledge production. Through monthly meetings hosted by different organisations and a dedicated Wiki site (whomakesandownsyourwork.org), the project has evolved to test conceptual and political implications of openness foregrounding specific proposals made by a loose network of artists and other cultural producers. The project was initiated in the autumn of 2006 by Maria Lind and Robert Stasinski, Iaspis together with London based artist Marysia Lewandowska currently a professor at Konstfack University College of Arts, Crafts and Design and Stockholm based artists Goldin+Senneby.

Funded by: Iaspis, Konstnärsnämnden, Konstfack and ABF Also support by: Piratpartiet

http://www.whomakesandownsyourwork.org

The Event took place in Årsta Folkets Hus and Cinema Nov 17 2007

Coverage:

Video from:

Public Consultation Event. Discussion on the current copyright debate. Moderators: Dr. Jaime Stapleton, Associate Research Fellow of the School of Law, Birkbeck College, University of London, and Anna Eineborg, artist, Stockholm. Participants: Marianne Levin, professor of intellectual law, Stockholm University, Rasmus Fleischer, Ph.D. student at Södertörn University College, Mats Lindberg, director, BUS (Visual Arts Copyright Society in Sweden). In Årsta Folkets Hus’ theatre.

***** Part 1. ****
introduction with Karl Rossmann
17 min 36 sec
***** Part 2. ****
Dr. Jaime Stapleton Lectue
48 min 53 sec
***** Part 3. ****
Panel Interviews & Discussions Part 1
1 hour 33 min 18 sec
***** Part 4. ****
Panel Interviews & Discussions Part 2
11 min 12 sec

archived at archive.org (also with mpeg2 DVD quality releases)

Audio from the whole day (almost):

Selected tracks:

***** Part 2 ****
02.Opening_Speech_by_Karl_Rossman_2007.mp3
Time: 8 min 30 sec

***** Part 5 ****
05.The_Public_Consultation_Event_-_Marianne_Levin_
Professor_of_Intellectual_Law-_Stockholm_University_
in_dialogue_with_Jaime_Stapleton-_2007.mp3
Time: 24 min 04 sec

***** Part 6 ****
06.The_Public_Consultation_Event_-_Mats_Lindberg_Directors_of_BUS_Sweden
_in_dialogue_with_Jaime_Stapleton-_2007.mp3
Time: 22 min 48 sec

***** Part 7 ****
07.The_Public_Consultation_Event_-_Rasmus_Fleischer_in_dialogue_with_Jaime_Stapleton-_2007.mp3
Time: 23 min 28 sec

***** Part 8 ****
08.The_Public_Consultation_Event_Panel_Debate_Discussion-_2007.mp3
Time: 36 min 57 sec

***** Part 9 ****
09.Untitled_Artist_Audio_Version_-_2007.mp3
Time: 7 min 56 sec

***** Part 13 ****
13.Maria_Lind_introduces_Palle_Torsson_and_Rasmus_Fleischers
_screening_of_the_movie_Steal_This_Film_Part_2-_2007.mp3
Time: 2 min 58 sec

***** Part 14 ****
14.Palle_Torsson_and_Rasmus_Fleischer_introduces_the_Swedish
_premieer_screening_of_the_movie_Steal_This_Film_Part_2-_2007.mp3
Time: 5 min 40 sec

***** Part 15 ****
15.Discussions_after_screening_Steal_this_Film_II_at_
Arsta_Cinema_Theater-_2007.mp3
Time: 14 min 51 sec

***** Part 16 ****
16.excerpt_1_from_Per_Ahlund_and_Mathias_Josefson_
improvisation_live_elecronic_set_at_Arsta_Cinema_Theatre-_2007.mp3
Time: 6 min 05 sec

***** Part 17 ****
17.excerpt_2_from_Per_Ahlund_and_Mathias_Josefson_
improvisation_live_elecronic_set_at_Arsta_Cinema_Theatre-_2007.mp3
Time: 5 min 53 sec

all audio archived at archive.org (with 24 bit releases as well and derivates)

feel free to edit all this and make your own version of this material!

This post includes coverage of the 2007/2008 sessions of the Radical Thinking - Broadcast Culture that I recorded and released on archive.org

An international lecture series tracing artists’ involvement with history, politics, and popular culture through the use of film and broadcast media. Each evening includes a film screening and a talk by the artist.
Organised by Timeline Konstfacks Videotek, Mejan, KHS Umeå. A collaboration between Marysia Lewandowska, Hinrich Sachs and Florian Zeyfang. Thanks to Kulturhuset.

2008
Eva Meyer and Eran Schaerf 16-04-08

The internationally renowned artists Eva Meyer and Eran Schaerf have been working collaboratively with video and radio plays since 1997. They investigate localities, language, narratives in order to propose alternative time and space structures for the self and the other(s). She Might Belong to You, 2007, their 37 min. film created for Skulptur Projekte Münster, will be shown for the first time in a context of an auditorium, followed by a discussion with the artists.

Artur Zmijewski 05-03-08

Shown for the first time during the Venice Biennale, 2005 film Repetition by artist Artur Zmijewski (PL) reconstructs the conditions of the Stanford Prison Experiment from 1971 studying behaviour of inmates and guards. In many of the artists’ works events of the past are scrutinized again often revealing processes of victimization and social exclusion. Using some of the documentary film tropes Zmijewskiâs works occupy a terrain charged with provocative questions as well as complex emotions. He directly implicates his viewers in the politics of representation.

Erik Pauser 20-02-08

Screening of production material from the upcoming “The face of the enemy” Exploring conflict. In the face of representation. Stockholm based artist and filmmaker Erik Pauser has been exploring conflicting representations of history through his long term project dealing with the legacy  of the war in Vietnam. Over five million Vietnamese died in what one side calls the American War and the other side calls the Vietnam War. The installation and film project The Face of the Enemy is constructed out of 200 hours of interviews with Vietnamese war veterans and civilians and tries to unravel the conflict through first hand accounts of the Vietnamese that fought in The American war. His talk centres around screening of excerpts of the work in progress and questions how history is told, edited and explored through the medium of film.

2007
Maciej Drygas 12-12-07

In his first visit to Stockholm, the polish documentary film maker Maciej Drygas known for his commitment to long term research projects, often using archival footage, will present and talk about his film The State of Weightlessness/Stan niewazkosci, 1994, a tender portrait of the cosmonauts and a critical reading of the conditions imposed upon them by the Russian space programme under communism. All his films contain an ethical dimension in both the treatment of found sources and themes which picture a dilemma between individual lives and historical forces.

Judith Hopf 21-11-07

The Crossing Occurs at Night
The Berlin based artist Judith Hopf will present Hospital Bone Dance (2006) in a Swedish premiere screening. Hopf has produced video works, marked by humour and wit exploring clear political agendas.

John Akomfrah 31-10-07

Signs of Empire
This is a rare opportunity to hear John Akomfrah introducing the work of the Black Audio Film Collective formed in 1982 in London. The Collective produced some of the most experimental documentaries in Britain in the 80s and 90s. They have profoundly influenced contemporary avant-garde filmmakers and artist. Screening includes Handsworth Songs, 1986, 60min.

image from: Konsten att göra sig märkvärdig - En studie av det konstnärliga producentfältet i Sverige i början av 1990-talet och några av förutsättningarna för att där erövra erkännande som konstnär av Barbro Andersson, 2005

Exhibit is over now moving over to some other place, but still I wanted to post this.

Workshop or Lecture? it was a lecture with Q&A

TERMINOLOGY WORKSHOP with Sven Olof Wallenstein - 12 Jan 2008

How has Marxist terminology survived and transmuted over the ages. Wallenstein, theorist and editor of the arts journal site, shall host a discussion on how fundamental terms such as «hegemony», «bourgeoisie» and
even «class» are now widely up for grabs. Moreover, what is the possible use of the terms in question; can a term as brutal as «false consciousness» still be helpful?

texts for reading before lecture:
Karl Heinrich Marx (wikipedia): [A Critique of] the German Ideology 1846
Louis Pierre Althusser (wikipedia): Ideology and Ideological State Apparatuses, January-April 1969

Escaping the void coming back to the collape of the wave function
Starting pedagogically from Plato and passing the ball over to Descartes (idea as an external object to the mind) and then some empirical variation from Locke one could feel that the ground was made in a gentle manner to set for Marx and Althusser. However we had though a detour over some aspects on the concept of “project” and what that could impose, in terms of ideology:

“..Ideas are produced when a bodily movement is checked or stopped..”

And of course adding the “Epistema” with Foucault we all ended up with his notion of subjectivity in avoiding to enter Althusserian void (even if the Foucault’s notion of continuation is slight weak). This however might be a proper selection since voids are less progressive at least in terms of philosophy, well… However one can re-interpret and refine the language and surroundings in ways that one could end up in another place, in that way continuing even if the void might have other characters, so to speak.

In observing subjectivity as second-person perspective we might though risk to enter the collapse of the wave-function and end up in the easy world. In terms of not observing the subjectivity it might even live more fruitfully on its own and add the continuity as natural properties. Additionally areas of  first-person perspective research might though impose some development into the area, as well, even if it will not directly result in philosophy in the end..
I was glad to hear Wallenstein’s view on the multitude, which was a completely “religious concept”, lot of fun for me, since I have been involved in some philosophy chat-conferences with some artists that were pretty confusing in terms of belief (chat1.html/chat2.html).

**this lecture is audio-casted**

Lost Subjectivity: Did the Tensta staff, however, enter the Althusserian Void anyway?
One interesting conclusion with Wallenstein’s lecture was in how you can avoid to a member of the society (in assuming that you are i.e. saying yes/or reply if a teacher in school asks for your name) is to provide non-information like screaming, providing rubbish etc.. In this way you take away the identification properties (subject) to be what you are, and you cease to be a member of the society.

Is this the case as we heard in the interview in 2006 by PS1 radio of the Tensta Kunsthalle Staff posted in the last episode? if you didnt listen to is you can access is here: >>>> (PS1 Radio Art Basel Miami Beach 2006: Leopard Cube).

Wiring up the Targets
Some kind of constructive discussion was probably lost due to the lack of proposals and items to take up for discussion in the exhibit (id you don’t think of a discussion for the aim of keeping the discussion alive), however the WIRE students from Konstfack (ON TARGET  10/2-30/3) did probably better in the manner of placing the section in the toilets. Bourgeoisie discussions were it should be, right? Pretty secret and contemplative. Reflections on what Bunuel had in mind of his film Charme discret de la bourgeoisie mixes with the visitors that need to go to the toilet, lol

One of the toilet installations linking the development of museums and materials to clean your ass together
Curated and made by Anna Kharkina and Beatrice Brovia

Välkommen till ”Den oundvikliga utbildningszonen”!
Den här pedagogiska installationen är en del av utställningen On Target curerad av WIRE studenterna på Konstfack.

Vi ber dig att stänga dörren till toaletten och sitta ner under ett par minuter för att besvara några frågor.
Genom att lyssna och fylla i enkäten du finner på dörren framför dig kommer du att bidra till en större kunskap om utställningens nuvarande publik på endast tre minuter.
Vi vill ta reda på om du tillhör den målgrupp som On Target specifikt vänder sig till under februari och mars månad.
Du behöver bara svara ”ja” eller ”nej” på följande tio utvalda frågor.
Nu börjar vi.

1. Bor du i en storstad?
2. Besöker du teater eller kulturevenemang fler än en gång i månaden?
3. Har du en akademisk utbildning, alternativt planerar du att fullfölja en akademisk utbildning för att det krävs i ditt yrkesliv?
4. Söker du ständigt möjligheter för att utveckla dina talanger i ditt arbete?
5. Har du långa och oregelbundna arbetstider?
6. Reser du utomlands en eller flera gånger per år?
7. Äter du på restaurang mer än tre gånger i månaden?
8. Lägger du ner tusen svenska kronor eller mer på träning och hälsoprodukter i månaden?
9. Åker du taxi fler än tre gånger i månaden?
10. Har du en inkomst på trehundratusen svenska kronor per år eller mer?

Det var sista frågan. Vi på WIRE tackar för den tid och det engagemang du lagt ner på vår enkät. Lämna talongen i receptionen. Där får du ett sammanräknat resultat, och svar på om du tillhör vår målgrupp eller inte.

a questionarie text from Curator Elisabeth Eurén’s toilet
since I recorded the audio for this I made availabe here (voice: Beatrice Ehrström)
(English version with Ronald Jones in the played section on the bottom of the post)

back to the Lapdog exhibit..

Networking through the Global Hegemony
As we saw that this project, or platform to meet others? Visitors (or merely those that could benefit to meet some important art people) were questioned to see if they were commercial or not. LOL!! such a bizarr concept! I was considered as commercial but did I fit into the network? well…

audio here! >>>

Decaying Singularity Dinner for 500 sek, for whom? Sir Tirdad and Lord Nav Haq? (since they got it for free anyway)

Day 3 - Sunday, January 13 - 20.00
DECOY - Dinner at Teatergrillen Restaurant, with Hassan Khan and others

Join the exhibition participants for a four-course meal
at Teatergrillen, Nybrogatan 3, where the opening forum
reaches a dramatic conclusion. Witness an exclusive dis-
play of new work by Hassan Khan. Meet the artists, carouse
with curators, and discover unfamiliar pleasures not typi-
cally expected of a seated dinner.
Dinner is served at 500 sek per person (wine not
included) – reservations required.

Comment: Now when Tirdad was recording the whole event (as he mentioned at the end of it) at this exclusive dinner we would like to listen to it since we didn’t want to spend 500 sek on this! I tried to interview Tirdad during the event-days but he didn’t want to, and he was trying his best to avoid any position or exposure I assume.. I tried to carouse with him for free, but maybe I had to pay to get his attention, since the only word from his side was: mm.. maybe later, not today.. heh, well such a handsome and intellegent man should be occupied!

Some other lapdogs of the bourgeoisie was though trying to get some attention at NK with their big Andy Warhol exhibit. Also here pro-acts this peculiar interest into carousing with the bourgeoisie..

the NK carousing carousel from Moderna Muséet

Some Reading (mostly in Swedish, sorry!)

“.. I konsthallen finns nu ett antal bilder, objekt och filmer. Men för att förstå varför de är där krävs viss initiering. För det första bör man ha deltagit i det tredagars ”forum” som inledde utställningen och som avslutades med en exklusiv middag på Teatergrillen (pris 500 kr). Där hade man till exempel kunnat delta i en ”lättsam” diskussion om Marion von Ostens bidrag, och ett möjligen mindre lättsamt tretimmars- seminarium kring tredje bandet av Marx Kapitalet. Själv var jag tyvärr hänvisad till de engelska bladen och de utställda ting som jag nu kort ska beskriva.” ref

Eldsjälar, svartfötter och byråkrater: En undersökning av konflikten kring Tensta Konsthall

Tensta Konsthall och tenstaungdomar

negativismen by Frederik Stjernfelt, Søren Ulrik Thomsen at Filosofiska Rummet (article in DN)

Konsten att göra sig märkvärdig - En studie av det konstnärliga producentfältet i Sverige i början av 1990-talet och några av förutsättningarna för att där erövra erkännande som konstnär av Barbro Andersson, 2005

Skräpet måste legitimeras av Anders C-60 sek

“I don’t believe in a group of people called the bourgeoisie, I don’t believe that artists are the lapdogs of this non-existent bourgeoisie, but I do believe that there is an exhibition at Gasworks called ‘lapdogs of the bourgeoisie’.  If you are the kind of person who can fit the exhibition and its accompanying symposium into your busy schedule, you are probably the kind of person who has attended another exhibition this year already.  If you are that kind of person, with a diary full of cultural investment opportunities, meetings and commitments stretching well into 2007 and beyond, you are also the kind of person who, like most of us, is too busy for solidarity. If you are too busy for solidarity then again like most people, you find the concept of class to be empty, rhetorical, without meaning or social purchase, a fit subject for jokes perhaps but nothing else..” Dr Malcolm Quinn ref

Response to the exhibition ‘Lapdogs of the Bourgeoisie’ at Gasworks, London. It was later used as the focus of a POCA (Political Currency of Art Group) seminar at Goldsmiths College, University of London on 23 March 2007.

***

audio backup at archive.org for wallenstein lecture

and backup at archive.org for the Tirdad’s intro, Natasha’s performance and Charlotte’s lecture

backup for Elisabeth Euréns instruction voices at archive.org