Trond Lossius

• Place, Timothy; Lossius, Trond; Jensenius, Alexander Refsum & Peters, Nils (2008). Flexible Control of Composite Parameters in Max/MSP. I Alcorn, Michael (Red.), Proceedings of the International Computer Music Conference, 2008, Belfast. International Computer Music Association. ISSN 9780971319264. s. 233–236. Fulltekst i vitenarkiv Vis sammendrag

  Fundamental to the development of musical or artistic creative work is the ability to transform raw materials. This ability implies the facility to master many facets of the material, and to shape it with plasticity. Computer music environments typically provide points of control to manipulate material by supplying parameters with controllable values. This capability to control the values of parameters is inadequate for many artistic endeavors, and does not reflect the analogous tools and methods of artists working with physical materials. Rather than viewing parameters in computer-based systems as single points of control, the authors posit that parameters must become more multifaceted and dynamic in order to serve the needs of artists. The authors propose an expanded notion of how to work with parameters in computer-centric environments for time-based art. A proposed partial solution to this problem is to give parameters additional properties that define their behavior. An example implementation of these ideas is presented in Jamoma.

• Place, Timothy; Lossius, Trond; Jensenius, Alexander Refsum; Peters, Nils & Baltazar, Pascal (2008). Addressing Classes by Differentiating Values and Properties in OSC. I Camurri, Antonio; Serafin, Stefania & Volpe, Gualtiero (Red.), Proceedings of the 8th International Conference on New Interfaces for Musical Expression (NIME08), Genova, Italy, June 4-8, 2008. Association for Computing Machinery (ACM). ISSN 9788890134463. s. 181–184. Fulltekst i vitenarkiv Vis sammendrag

  An approach for creating structured Open Sound Control (OSC) messages by separating the addressing of node values and node properties is suggested. This includes a method for querying values and properties. As a result, it is possible to address complex nodes as classes inside of more complex tree structures using an OSC namespace. This is particularly useful for creating flexible communication in modular systems. A prototype implementation is presented and discussed.

Se alle arbeider i NVA

• Hobøl, Annie Anawana Haloba; Lossius, Trond & Sustersic, Apolonija (2026). The Moment I Become Black. doi: 10.22501/kmd-ar.4352363. Fulltekst i vitenarkiv Vis sammendrag

  This doctoral research investigates how artistic practice can operate as a decolonial and feminist mode of knowledge production under conditions shaped by exile, postcolonial contradiction, and unequal recognition. Beginning from a sustained concern with women’s participation in liberation struggle, nation-building, and post-independence life, it asks how women’s resistance, mediated voice, and political significance have been trivialised, misrepresented, or erased within heroic national histories and dominant archival forms. From this starting point, the research asks what kind of methodology becomes necessary when the archive fails to hold oral, embodied, and community-held forms of knowledge, and when artistic research must move beyond representing marginalised histories toward allowing them to shape the terms of inquiry itself.Grounded in Indigenous research paradigms, dialogue, orature, and Writing as Making, the research treats language as material and understands writing not as external commentary, but as part of the artistic process itself — a physical mode through which thinking manifests. It places Frantz Fanon and Bjørnstjerne Bjørnson into a tactical, non-hierarchical encounter in order to think across emancipation, gender, nation-building, and mediated voice. Through this encounter, it develops (Re)Pair as a methodological and artistic framework for bringing fractured histories, objects, and epistemic positions into relation without forcing them into sameness. From this emerges the Imaginative Reclaim, a critical and artistic process that begins from rupture rather than restoration, asking what may be re-entered, re-voiced, refigured, and restaged after epistemicide, dispossession, and historical fracture.Methodologically, the research moves through fieldwork, oral histories, process exhibition, collaborative inquiry, pedagogy, sound, sculpture, and experimental opera. Its findings demonstrate that exhibition, dialogue, oral citation, collaborative pedagogy, sculpture, sound, and opera can function not merely as forms of representation, but as interrelated modes of knowledge production. This contribution is most fully expression in Looking for Mukamusaba: An Experimental Opera, where orality, women’s resistance, myth, spiritual and historical reclamation, geopolitics, sculptural sound, and the ethics of listening are brought into a single operatic field. The research contributes to decolonial artistic research by showing that oral, embodied, feminist, materially written, and community-held epistemologies can reshape not only the content but also the forms, methods, and ethics of inquiry. keywords:

• Lossius, Trond; Kvinnsland, Bjarne; Rothenberg, David; Einbond, Aaron & Costantini, Emanuele (2026). SOUND/IMAGE 2026 Festival – Concert 1. doi: https:/blogs.gre.ac.uk/sound-image/festivals/soundimagefestival/sound-image-2026-festival/sound-image-2026-festival-concert-1/. Fulltekst i vitenarkiv Vis sammendrag

  Bjarne Kvinnsland, Trond Lossius and David Rothenberg – The Moving Sounds of Whales In this work, the artists Bjarne Kvinnsland, Trond Lossius, and David Rothenberg have used underwater recordings of various whales, including humpback whales, sperm whales, blue whales, fin whales, and killer whales, to tell precise stories about whale sounds only with their sounds. The various whales communicate through song, clicking, and almost percussive sounds. This precise and cultural way of using sound suggests that whales have a complex social life that humans can barely understand. Humpback whales sing long, beautiful songs that are closer to music than to language, sometimes moving human listeners to tears. Male whales change their songs from month to month and year to year. When one whale changes his tune, and the new song is accepted, all the other whales quickly follow and change theirs, so they all wail the new tune. Sperm whales, the largest toothed whales, use clicks to identify their family groups via echolocation. They are the only animals we know of with clan-specific percussive sounds. This precise, culturally specific use of sound suggests that these whales have a complex, nuanced social life that humans can barely understand. We knew nothing about this when we hunted them to near extermination for their oil and ambergris. When sung deep enough beneath the ocean’s surface, Blue whale songs can travel thousands of miles across the ocean in less than an hour. The work is made possible by the collaboration of three distinct research approaches: the field recordist (Kvinnsland), the spatial sound specialist (Lossius), and the interspecies musician (Rothenberg). Aaron Einbond – Cosmologies III Cosmologies III situates the listener inside a virtual grand piano to experience its secret inner life. The piano interior, recorded with a spherical microphone array, is complemented by three-dimensional (3-D) field recordings of Paris’s Place Igor Stravinsky. These recordings are highlighted and underlined with computer synthesis using artificial intelligence (AI) to reproduce the spatial presence of acoustic instruments, while the microcosm of the piano’s inner space expands larger-than-life. Cosmologies III is part of a modular series of works that use AI to inform sound spatialization. The situated spatial presence of musical instruments has been well studied in the fields of acoustics and music perception research, but so far has not been the focus of research on AI and music. Cosmologies seeks to “re-embody” recorded sound using data derived from natural acoustic phenomena in an immersive sonic environment where real and virtual sources blend seamlessly. Cosmologies III for Ambisonic fixed media may be performed on its own or directly following Cosmologies for piano and 3-D electronics, with the fixed media work beginning as the live performer leaves the stage. Although the human–AI interaction in the fixed work is no longer live, it remains as a trace of the work’s creation process, refracting the human performer’s presence behind the spatial audio recordings Emanuele Costantini – I was looking for some sand as I didn’t have much left in my pocket We live inside a manufactured noise — a steady frequency of fear, blame, and distraction broadcast through the architectures of social media, political speech, and mass culture. This paper-practice reflects on spatial audio as both a critical tool and a counter-practice: a means of revealing what lies beneath the dominant signal. Drawing on the author’s audiovisual work and its underlying poetic proposition — that a beach is made of billions of grains, yet we are directed toward the plastic bag — this paper examines the political ecology of listening. When critical masses are managed through division and distraction, immersive sound offers an alternative epistemology: one rooted in granularity, proximity, and collective resonance rather than spectacle and separation. The Ambisonics format becomes a site for enacting these ideas spatially — redistributing perceptual attention away from the loudest, most manipulated signals and toward subtler textures of solidarity and shared environment. The water that once kissed the beach does not campaign. Yet it holds everything. This paper reflects on compositional strategies for work that is politically conscious without being didactic, and immersive without being totalising. It asks: what does it mean to hold values in a noisy world, and how can the organisation of sound in space model forms of attention that resist the architectures of division? Spatial audio, here, is positioned not merely as technical achievement, but as an ethical and aesthetic stance — a practice of listening against the grain.

• Lossius, Trond; Kvinnsland, Bjarne & Rothenberg, David (2026). The Moving Sounds of Whales. doi: https:/blogs.gre.ac.uk/sound-image/festivals/soundimagefestival/sound-image-2026-festival/sound-image-2026-festival-talk-3/. Fulltekst i vitenarkiv Vis sammendrag

  In a series of works, the artists Bjarne Kvinnsland, Trond Lossius, and David Rothenberg have used underwater recordings of various whales, including humpback whales, sperm whales, blue whales, fin whales, and killer whales, to tell precise stories about whale sounds using only their sounds. Past projects include a permanent sound installation for The Whale Hall in The Natural History Museum in Bergen, a national landmark. After a seven-year renovation, this one exhibit had to appear exactly as it had appeared for the last hundred and forty years. However, it could be transformed with sound, so the artists worked to figure out how to tell specific stories about the acoustic behaviour of these whales entirely in sound, with little explanatory information added. Based on the Whale Hall sound installation, several concert versions have been developed and presented at acousmatic concerts and art venues, using 3D ambisonics, and as film for the ears only in movie theatres, using theatrical Dolby Atmos systems. Currently, sound is in development for a dedicated listening room at The Whale, a new knowledge and experience centre in Andenes, Northern Norway, which will open to the public in June 2027. The talks will present past and ongoing projects and discuss the aesthetic and artistic reasoning that informs the work, made possible by the meeting between three distinct research approaches: the field recordist (Kvinnsland), the spatial sound specialist (Lossius), and the interspecies musician (Rothenberg).

• Jahr, Ida & Lossius, Trond (2026). MishMash: Where are we now and where are we going? doi: https:/www.inn.no/om-universitetet/fakultet-for-film-tv-spill/hva-skjer-pa-ftvs/innku/innku-2026/. Fulltekst i vitenarkiv Vis sammendrag

  Presentation of the current state of the project

• Meidell, Stephan; Lossius, Trond & Eck, Cathy van (2026). Sound~Currents. doi: 10.22501/kmd-ar.1807422. Fulltekst i vitenarkiv Vis sammendrag

  Sound~Currents grows elaborate musical ecosystems where sounds from electronic and acoustic instruments ripple through one another in a resonant, electromagnetic field. The resonances among instruments, people, and spaces are physically and conceptually interlinked and guide how we make music together. When fixing transducer speakers, electromotors, and microphones inside musical instruments in ensembles, a symbiotic, tactile network emerges in which the sounds from one can vibrate the surfaces, membranes, and strings of the other. This practice enables a queering of agency where one is reciprocally "sounding through" and "playing" the other. It establishes a uniquely interwoven sonic ecology, where borders between electronic sounds, acoustic instruments, and actants become fuzzy. This ambiguity creates a rich, shared sonic environment, resulting in a broad portfolio of artistic outcomes. Sound~Currents explores how resonance, technologically engendered through vibrational transduction, unveils other pathways to co-creation and alternative listening modes, thereby challenging, expanding, and diversifying current improvisational music practice. When transducer speakers shake, we can listen with our skin. When they overheat, we smell sounds escaping the human ear. The PhD result comprises a concert in Bergen on November 29, 2025, and a Research Catalogue exposition. The RC exposition documents the final concert and additional artistic outcomes, as well as material documenting artistic reflection. keywords:

• Lossius, Trond (2026). Reimagining Immersive Art for Living Rooms. doi: https:/mishmash.no/events/kristiansand2026/. Fulltekst i vitenarkiv Vis sammendrag

  Throughout my artistic career, I have created collaborative site-specific installations combining immersive audio with video, painting, drawings, and objects. These works are experienced only in specific locations for limited durations; afterwards, they exist only as documentation, typically a stereo video that struggles to capture their temporal, spatial, and immersive qualities. Recent technological advances offer new possibilities. Dolby Atmos support from Apple and other providers now enables the distribution of spatial audio media for home consumption. Additionally, Swift and SwiftUI allow developers to build feature-rich media applications across Apple's ecosystem (such as iOS, macOS and tvOS). For artists with limited coding skills, agentic coding tools in Xcode open unprecedented opportunities to develop artworks as applications. I have applied these technologies to recreate the site-specific installation "Lento o Tempo Muda em Poço do Canto" (first shown in Portugal in 2022) as a "home edition." Using Apple TV, the application presents four videos on a split screen with an immersive spatial audio track, with all media files playing and looping asynchronously. This project demonstrates how recent technologies open possibilities for developing artistic works to be experienced in domestic surroundings that, from a programming standpoint, might appear simple but, depending on the quality and composition of the media content, can still offer rich experiences. Poster publisched in https://mishmash.no/assets/events/kristiansand2026/mishmash-opening-conference-2026-abstracts.pdf

• Howard, Frederick; Remlov, Tom & Lossius, Trond (2026). Trust and Creativity Values. Structures and Leadership in Film Production. doi: https:/www.researchcatalogue.net/view/3667868/3820856. Fulltekst i vitenarkiv Vis sammendrag

  Trust Design re-imagines trust as an artistic material within film production. This artistic doctoral outcome unites the Norwegian fairytale feature film Three Wishes for Cinderella (2021), serving as an artistic laboratory, and the essay Designing Trust, which articulates the theoretical framework. The research advances the Trust Circle model, structured around four interdependent values—clarity, competence, authenticity, and benevolence—and examines how these informes creative and structural decisions during production. This inquiry integrates ethical, aesthetic, and organisational dimensions into a coherent artistic practice that positions the film producer as both creative author and relational designer. By revealing the ethical architecture of collaboration as an artistic medium, Trust Design offers a transferable model for creative leadership that cultivates integrity, resilience, and sustainable collective creativity.

• Hobøl, Annie Anawana Haloba & Lossius, Trond (2026). Plattform: Anawana Haloba in conversation with Trond Lossius. doi: https:/www.kunsthall.no/en/events/3314-2026-05-30/. Fulltekst i vitenarkiv Vis sammendrag

  Welcome to Plattform, our series of talks, lectures and debates with artists and prominent thinkers. Expanding on topics from our exhibitions and events gives a chance to engage or dig deeper. This year’s festival artist is Anawana Haloba. The Zambian-Norwegian artist Anawana Haloba has an extensive international career and is a significant voice in contemporary art. Haloba was recently featured in the solo exhibition “I Want to Tell You Something” (Jeg vil si deg noe) at the National Museum in Oslo. In 2025, she participated in the Berlin Biennale 2025 — “passing the fugitive on” — and was recently nominated for the Lorck Schive Art Prize and the Artes Mundi Prize for her groundbreaking work. Trond Lossius is an artist investigating the relationship between sound and place through field recordings, audiovisual installations, and collaborative, cross-disciplinary projects. He has a keen interest in artistic research and serves as Professor and Head of PhD at The Faculty of Film, TV and Games, University of Inland Norway, and as Professor II at The Grieg Academy, University of Bergen. Plattform is supported by Fritt Ord.

• Mikkelson, Cecilie Semec; Vassdal, Kjell & Lossius, Trond (2026). Filmbildet og den lange tagningen. doi: https:/www.researchcatalogue.net/view/3561121/3561122. Fulltekst i vitenarkiv Vis sammendrag

  Filmbildet og den lange tagningen undersøker hvordan arbeid med lange tagninger påvirker filmfotografens kropp, blikk og kunstneriske uttrykk. Utgangspunktet er egen skapende virksomhet som filmfotograf. Gjennom arbeid med filmene Lyset fra sjokoladefabrikken (2020) og Apart (2020) utforskes den lange tagningen som både et estetisk og et etisk valg. Prosjektet bygger på en erfaringsbasert og kroppslig tilnærming til filmfotografi, der lang tagning forstås som en form for oppmerksomhet og nærvær. Gjennom samtaler med internasjonale filmfotografer som Sean Bobbitt, Peter Zeitlinger og Dick Pope, samt dokumentarfilmregissøren Kim Longinotto, tematiseres filmfotografens rolle og hva tid betyr i filmfotografiet.

• Lindahl, Ingeborg Annie; Huke, Marte; Lossius, Trond & Stien, Hanne Hammer (2026). Kunstnersamtale i forbindelse med utstillingen "Lengsel etter den andre". doi: https:/www.gallerinn.no/utstilling/lengsel-etter-den-andre/. Fulltekst i vitenarkiv Vis sammendrag

  Lørdag 11. april kl. 13.00 ønsker vi varmt velkommen til kunstnersamtale med lydkunstner Trond Lossius, poet Marte Huke og billedkunstner Ingeborg Annie Lindahl og moderator og kunsthistoriker Hanne Hammer Stien. Samtalen holdes i forbindelse med utstillingen "Lengsel etter den andre", som består av tre deler hvor perspektiver flyttes, endres og dveles ved. Utstillingen er et tverrfaglig prosjekt som kombinerer tegning, lyd og språk for å utforske sted, tilstedeværelse og kollektiv skapende bevissthet. Kunst spiller en avgjørende rolle i vår utvikling som art. Galleriet blir i denne perioden et sted for erfaringer og tanker om å være på et sted, gjennom samhandling og komplimentaritet.

• Lossius, Trond (2026). Presenting artistic research PhD outcomes as expositions in the Research Catalogue. Fulltekst i vitenarkiv Vis sammendrag

  Trond Lossius is a professor and Head of PhD at the Faculty of Film, TV and Games, University of Inland Norway (INN), as well as a professor at the Grieg Academy, Faculty of Fine Art, Music and Design (KMD), University of Bergen. He is the main supervisor for several PhD candidates within the Norwegian artistic research environment and has served on several assessment committees. In this seminar, he will address how candidates work with RC expositions when developing their artistic PhD outcomes and discuss and present recent expositions of PhD outcomes, with an emphasis on the integration of artistic practice and reflection.

• Lindahl, Ingeborg Annie & Lossius, Trond (2026). Longue Durée. doi: https:/www.kunstforeninger.no/nyheter/en-audiovisuell-opplevelse-skapt-gjennom-dialog-og-improvisasjon. Fulltekst i vitenarkiv Vis sammendrag

  I forbindelse med den årlige klassiske musikkfestivalen Glogerfestspillene, presenterer Kongsberg Kunstforening en utstilling med Ingeborg Annie Lindahl og Trond Lossius. Kunstnerne har samarbeidet siden 2016 og skaper en helhetlig audiovisuell opplevelse. Det prosessorienterte kunstverket er et tverrfaglig samarbeid som er stedstilpasset.

• Lindahl, Ingeborg Annie; Lossius, Trond & Lien, Gunhild (2026). Kunstnersamtale. Fulltekst i vitenarkiv Vis sammendrag

  Kunstnersamtale ved Kongsberg Kunstforeing

• Lossius, Trond (2025). Immersed in Igalo: Approaching an Artistic Residency with Care. Fulltekst i vitenarkiv Vis sammendrag

  As an artist, being in residency typically means visiting and staying for up to several weeks in a place I know little about. I might not know anyone there from before, and I might not even speak the language. The residency is an opportunity to engage with my own practice while researching the place I visit, gathering impressions and an initial understanding through conversations, walks, readings, reflections, listening, and recording. It may also be expected that the residency leads to a public presentation of an artistic work. If so, there is a risk that the end result might be superfluous and insufficiently sensitive to the place and its people. Within the ArCho research project, we are scheduled to undertake a 3-week residency at Institute Igalo in Montenegro in spring 2026, with the aim of developing an installation at Kunsthall Dikemark in summer 2027. The residency will pose all the challenges mentioned above, raising questions about how to arrive at artistic processes and expressions that are relevant and meaningful while treating the site, its staff, and its patients with respect and care. We previously had a short visit to Institute Igalo. During this talk, I'll share initial observations and reflections from that stay and discuss possible strategies for the forthcoming residency. For the residency, I am considering continuing a set of strategies developed during a previous residency in 2022 in the parish of Poço do Canto, in the Upper Douro, Portugal. I'll present approaches and the resulting audiovisual outcomes from the residency in Portugal, alongside initial attempts from our previous stay in Igalo, and discuss possible strategies for artistic research during the residency and for the exhibition to be developed later.

• Kvinnsland, Bjarne; Lossius, Trond & Rothenberg, David (2025). Whales Surround Us (Concert Version). Fulltekst i vitenarkiv Vis sammendrag

  We created a 24-channel ambisonic sound installation made out of the songs and calls of sperm whales, pilot whales, killer whales, blue whales, bowhead whales, and an occasional clarinetist trying to make music with humpback whales. The specific aim was a difficult one—to tell precise stories about whale sounds only with their sounds, including as little explanatory text as possible. It was originally for the Bergen Museum of Natural History in Norway, then a concert version was performed at the Ultima Festival in Oslo in 2024. This version combines a recomposed version of this piece with live performance with David Rothenberg on bass clarinet and contralto clarinet, riffing on his years of experience playing live with whales as detailed in his book Whale Music (MIT Press 2024) and his numerous albums on the subject, from Whale Music to Whale Music Remixed, and Who Knows Why Whales Sing?

• Brandtsegg, Øyvind; Ham, Tijs; Lossius, Trond & Welsh, Jeremy (2025). Persistent Disequilibrium. doi: https:/wrap.hdu.no/kjelbju-laven-iii-pc.html. Fulltekst i vitenarkiv Vis sammendrag

  Persistent Disequilibrium er et eksperimentelt tverrfaglig samarbeid mellom fire ulike kunstnere som skaper en helhetlig opplevelse i skjæringspunktet mellom forestilling, konsert og utstilling. Prosjektet har over flere år oppstått ved forskjellige arenaer, blant annet ved Meta.Morf-festivalen (Trondheims Biennale for kunst og teknologi) og på Wrap i Bergen. Hver gang dette skjer, samles kunstnerne over flere dager til nye eksperimenter med nye materialer, nye teknikker, nye instrumenter og nye kombinasjoner. Siden prosjektet fant sted på Wrap i 2023, har vi vist at dette kunne passe godt på Kjelbju, og vi er veldig stolte av å endelig kunne presentere prosjektet under vårt tredje samarbeid med Kjelbju-låven!

• Gviniashvili, Mariam; Duch, Michael Francis; Broch, Vilbjørg; Kvinnsland, Bjarne; Lossius, Trond & Rothenberg, David (2025). En konsert i omsluttende lyd. doi: https:/notam.no/nyheter/en-konsert-i-omsluttende-lyd-notam-cinemateket/. Fulltekst i vitenarkiv Vis sammendrag

  Den 7. oktober inviterer Notam og Cinemateket til en helt spesiell konsertopplevelse med verker skrevet for omsluttende lyd, fremført i Cinematekets fantastiske nye lydanlegg! Under konserten får publikum lytte til tre unike verk som utforsker forholdet mellom musikk og rom, samt en overraskelse fra musikkens, radioens og filmens felles historie.

• Lossius, Trond; Svensson, Carl Henrik Olof & Diesen, Therese Næss (2025). A portal to new worlds of sound: Artistic research into 3D audio at the Norwegian Film School. doi: https:/sonicdays2025.sched.com/event/29Gw6/a-portal-to-new-worlds-of-sound-artistic-research-into-3d-audio-at-the-norwegian-film-school. Fulltekst i vitenarkiv Vis sammendrag

  At the Norwegian Film School, we’ve been exploring how new 3D audio formats can unlock creative possibilities and spark innovation. The project dives into artistic methods and aesthetics in immersive sound, showing how the evolving language of spatial audio can be shaped and applied across both art and technology. We’ll look at how different sonic practices can cross-pollinate when used in 3D sound worlds, such as bringing cinematic sound design into VR art, live performance, or the theatre space. Crucially, the project also asks: to what extent can artistic research in sound lead to real-world impact beyond the arts — in technology development, product design, and innovation within the private sector?

• Rothenberg, David; Kvinnsland, Bjarne & Lossius, Trond (2025). Whalesound 2: Who Knows Why Whales Sing? doi: https:/luma.com/7qowriw9. Fulltekst i vitenarkiv Vis sammendrag

  After a previous listening session, we sit down for a ninety minute workshop on the songs and sounds of whales, discussing humpback whales, blue whales, fin whales, killer whales, minke whales, beluga whales, and pilot whales, each species a sonic world unto itself. We will talk about how the different sounds make us feel, and what we know and don’t know about them. ​Led By: David Rothenberg, Bjarne Kvinnsland, Trond Lossius. Together they form the collective Ocean Heard, known for their museum installations, live immersive performances, and live whale music expeditions.

• Rothenberg, David; Kvinnsland, Bjarne & Lossius, Trond (2025). Whalesound 1: Humpback Whale Meditation Session. doi: https:/luma.com/dp73kjej. Fulltekst i vitenarkiv Vis sammendrag

  David Rothenberg leads the group in an hour long meditation where we listen to a single humpback whale song for about an hour. These whales can sing for up to twenty four hours at a time, and yet usually when they appear on recordings or in films they’re just a few minutes long. ​At Reforesters we will really get into it. The song will be gently swirled around the 3D space to emulate what it feels like for a whale to hear it underwater. Not a human. We will become whales… for a relatively brief time. ​The collective Ocean Heard is composed of three sound artist / composers with years of experience mixing spatial audio and natural sound.

• Kvinnsland, Bjarne; Lossius, Trond & Rothenberg, David (2025). Whalesound 3: Whales Surround Us (Concert Version). doi: https:/luma.com/2w777u1o. Fulltekst i vitenarkiv Vis sammendrag

  We created a 24-channel ambisonic sound installation made out of the songs and calls of sperm whales, pilot whales, killer whales, blue whales, bowhead whales, and an occasional clarinetist trying to make music with humpback whales. The specific aim was a difficult one—to tell precise stories about whale sounds only with their sounds, including as little explanatory text as possible. It was originally for the Bergen Museum of Natural History in Norway, then a concert version was performed at the Ultima Festival in Oslo in 2024. ​This version will be a new, recomposed version of this piece especially for the Reforesters ambisonics system, also combining live performance with David Rothenberg on bass clarinet and contralto clarinet, riffing on his years of experience playing live with whales as detailed in his book Whale Music (MIT Press 2024) and his numerous albums on the subject, from Whale Music to Whale Music Remixed, and Who Knows Why Whales Sing? ​We will bring the moving sounds of whales to Brooklyn as they have never been heard before…. ​This is one of three events at Reforesters this December.

• Grünfeld, Nina; Reienes, Anne-Brit Soma; Skartveit, Hanne-Lovise; Gjerstadberget, Guro Erika Trøseid; Malterud, Nina & Lossius, Trond [Vis alle 37 forfattere av denne artikkelen] (2025). INNKU 2025. doi: https:/www.inn.no/om-universitetet/fakultet-for-film-tv-spill/hva-skjer-pa-ftvs/inkku-2025/. Fulltekst i vitenarkiv Vis sammendrag

  29. og 30. oktober arrangerer Fakultet for film, TV, og spill og Fakultet for lærerutdanning og pedagogikk den andre utgaven av INNKU. Konferansen samler ansatte og studenter til et inspirerende fagmøte i Hamar Teater med fokus på det spennende og nyskapende kunstneriske utviklingsarbeidet ved fakultetene.

• Lossius, Trond; Diesen, Therese Næss; Grønsberg, Gunn Tove; Welburn, James & Sønsteli, Stein Tore (2025). Open seminar for INN’s Research Programme in AI & VR/AR. Fulltekst i vitenarkiv Vis sammendrag

  The AI & VR/AR Research Programme supports INN’s ambitions in promoting excellent research, cooperation between faculties and sharing of experiences in utilizing novel digital techniques in research. This is the third seminar within this programme.

• Lossius, Trond (2025). Possible new worlds. Immersed between sound and music, sonic arts and film sound, and real and virtual spaces. Fulltekst i vitenarkiv Vis sammendrag

  Since the 20th century, the distinction between music and sound has blurred. Arts and culture have undergone a sonic turn, conceptualising sonic arts as existing between and beyond music and visual arts. Compositional material is increasingly preoccupied with the sonic domain against which music previously defined itself: noise, silence, and non-musical sound. In classic film, there is a narrative divide between diegetic and non-diegetic sound. Sound design typically belongs to the film's (diegetic) world, while film music exists outside (non-diegetic). The late musicologist and film scholar Kulezic-Wilson suggested a tendency for this divide to blur as music approaches sound design and vice versa in integrated soundtracks; “sound design is the new score”. This tendency is part of a more general musicalization of all dimensions of the film, in part technologically driven or enabled, as the same editing software is used for music and sound design. Similar tendencies are theorised in sound design for games. Although there is a rich tradition of exploring spatial audio in music and sound arts, the film industry has taken the lead in developing commercially distributable formats for spatial audio. Next-generation audio formats, such as Ambisonic and Dolby Atmos, enable the creation of sonic scenes that can later be reproduced over large loudspeaker systems, in domestic environments, or over headphones. Combined, the axes between sound and music, sonic arts and film sound, and immersive audio for real and virtual spaces offer abundant artistic expression, exploration, and research opportunities.

• Lossius, Trond; Bachelder, Steven; Bull, Synne Tollerud & Jahr, Ida (2025). Kunst i intelligens: Hvilke nye kreative uttrykksmuligheter kan KI åpne for? Fulltekst i vitenarkiv Vis sammendrag

  Ny teknologi har alltid hatt evnen til å forenkle og effektivisere etablerte arbeidsoppgaver, men med det følger også frykten for at funksjoner og individer blir overflødige. Hva skjer når teknologien strekker seg forbi det kjente og utfordrer oss til å utforske noe nytt? Kunstig intelligens (KI) gir oss muligheten til å stille disse spørsmålene på en ny og spennende måte. Hvilke nye kreative uttrykksmuligheter kan KI åpne for? Hvordan kan kunsten utfordre og subvertere KI? Hvordan kan vi forstå lyd, bilde, video og litterær tekst generert av KI i forhold til autentiske kunstneriske uttrykk? Hvor overlapper og utfyller de hverandre, og hvor er de fundamentalt forskjellige? Kunsten har et ansvar for å gå i kritisk dialog med KI, for å bidra til en dypere forståelse og debatt om KIs natur og samfunnspåvirkning. Hvordan skal kunstutdanningene ta dette ansvaret, gjennom kunstnerisk utviklingsarbeid, forskning og utdanning? Vi inviterer til en debatt der vi sammen utforsker disse spørsmålene og mer. Bli med oss i en diskusjon om kreativitet, subversjon og autentisitet i møte med kunstig intelligens. Velkommen!

• Lossius, Trond; Svensson, Carl Henrik Olof & López, Xoán-Xil (2025). Round table discussion: Research and perception. Fulltekst i vitenarkiv
• Skaret, Kristine Ann; Mik-Meyer, Lotte; Lossius, Trond; Mortensen, Jørn & Gallefoss, Lasse (2025). Hva kan forskning tilføre dokumentartfilmfaget? Fulltekst i vitenarkiv Vis sammendrag

  Hva betyr begrepet «kunstnerisk utviklingsarbeid» - og hvordan kan forskning bidra til å utvikle dokumentarfilmfaget? Kan kunst gjøres til en akademisk disiplin - eller: Hva er det egentlig de driver med der oppe i Lillehammer? Artistic research eller kunstnerisk utviklingsarbeid er begreper som stadig dukker opp i diskusjonene rundt Den norske filmskolen, og andre utdannelsesinstitusjoner som befatter seg med film og andre kunstneriske uttrykk. Den norske filmskolen har stipendiater som tar Phd utdanninger i ulike filmfag-fuksjoner, herunder dokumentarfilm, og flere av lærerne har kunstnerisk utvikling som en del av sitt arbeidsområde. Hvorfor det viktig at dokumentaren er av del av den kunstfaglige forskningen?

• Skaret, Kristine Ann; Kogan, Anne-Liis; Bremset, Hedda Kristine & Lossius, Trond (2025). Kreativ bearbeidelse av en virkelighet som ennå ikke har funnet sted. Fulltekst i vitenarkiv Vis sammendrag

  KriStine Skaret presenterer sitt PhD-prosjekt i samtale med regissørene Anne-Liis Kogan og Hedda Kristine Bremset. Moderator: Trond Lossius.

• Lossius, Trond (2024). Lento o Tempo Muda em Poço do Canto / Slow Time Change in Poço do Canto. I Ferreira, Virgílio; Vaz-Pinheiro, Gabriela & Dyer, Jayne (Red.), ViViFiCar. CI:CLO Plataforma de Fotografia. s. 82–87. Fulltekst i vitenarkiv
• Lossius, Trond (2024). Listening as a way of not yet knowing. Fulltekst i vitenarkiv Vis sammendrag

  To listen can mean pausing from outward action to receive, take in, and contemplate one's surroundings. To listen is to open up to and be challenged by the environment, community, culture, and ideas one is surrounded by and embedded within. To listen is to willingly destabilise oneself, daring not to know, and instead accept and enter into a world that repeatedly reveals itself as different from how one previously knew it. Listening is to let go of control and embrace questions more than desire answers. Gradually, I have realised that such ways of listening have always saturated my artistic practice, literally and metaphorically. Fresh out of composition studies, I transitioned from composing scores intended for concert performances to working on computer-based sound installations. I got involved with collaborative and transdisciplinary projects, which exposed me to the worlds of other artists and concerns beyond music, informed by discourses in fine arts and performance arts. Developing sound in galleries and museums as part of installations that might also contain paintings, video or objects, I had to listen to and be sensitive towards acoustics, architecture, site, artistic concepts and audio-visual relations to develop site-specific or site-adjusted works affording the audience to listen and take time. Spatial audio became an essential means of engaging with the site and offering the audience an experience of being present within the resulting environment. Additionally, the various projects often required custom software development, and engaging with software's affordances, preconceptions, and limitations implied listening to the tendencies and forces driving tech development. For over ten years, I have developed a field recording practice using surround (ambisonic) microphones, primarily in suburban areas. Rather than recording sound, these recordings capture a sense of place. To understand something, I have found it more valuable to operate at the margins rather than at the centre. It is at the edges that something is negotiated and becoming. Working between sound, music and fine arts, with software still in flux, within artistic research while still in the making, is to position myself where I continuously have to ask what this is and can become. From this position, I do not yet know; instead, I can listen and be alive.

• Grünfeld, Nina; Haga, Ole Christoffer; Lossius, Trond; Mik-Meyer, Lotte & Vanebo, Camilla (2024). Hvem tror vi at vi er? Et dykk ned i vår KU-virksomhet. Fulltekst i vitenarkiv Vis sammendrag

  Et dykk ned i vår KU-virksomhet ved Nina Grünfeld (FTVS). Etterfulgt av en plenumsamtale om FTVS fremtidige forskningsstrategi og forskergrupper 2025- 2027.

• Lossius, Trond (2024). Drift studies (Clouds). Fulltekst i vitenarkiv Vis sammendrag

  The work examines compositional and sound design techniques to create moving, extended, and spatially diffuse masses of sound inspired by ambient and atmospheric thinking. Field recordings serve as a backdrop for more abstract layers of sound that may conjure associations of fog or clouds drifting over an open sky.

• Lossius, Trond; Diesen, Therese Næss; Grønsberg, Gunn Tove; Lacroix, Mathieu; Svensson, Carl Henrik Olov & Welburn, James (2024). Å forske i forskergrupper ved forskningsgruppen "Artistic Research in Sound and Music". Fulltekst i vitenarkiv
• Kvinnsland, Bjarne; Lossius, Trond & Rothenberg, David (2024). The Moving Sounds of Whales. Fulltekst i vitenarkiv Vis sammendrag

  Humpback whales sing long, beautiful songs closer to music than language, sometimes moving human listeners to tears. The male whales change their song from month to month and year to year. When one whale changes his tune, and the new song is accepted, all the other whales quickly follow and change theirs, so they all wail the new tune. Sperm whales, the largest-toothed whale, use clicks to identify their family groups for echolocation. They are the only animals we know of with clan-specific percussive sounds. This precise and cultural way of using sound suggests that these whales have a complex and nuanced social life that humans can barely understand. We knew nothing about this when we hunted them to near extermination for their oil and ambergris. When sung deep enough under the ocean’s surface, Blue whale songs can travel thousands of miles across oceans in less than an hour.

• Lossius, Trond (2024). Sound, place and space. Fulltekst i vitenarkiv
• Festøy, Elin; Lossius, Trond & Bachelder, Steven (2023). NUMB - Exploring Emotionally Charged Interactions to Motivate Reflection on Non-Fiction Topics. doi: https:/www.researchcatalogue.net/view/1363914/2352748. Fulltekst i vitenarkiv Vis sammendrag

  This PhD project in artistic research by Elin Festøy, research fellow at The Norwegian Film School, Innlandet University College, is situated in the field of interactive experiences. Festøy explores how emotionally charged interactions can be used to build trust and communicate non-fiction topics in a way that is more likely to motivate empathy and change. The artistic exploration consists of a consecutive row of conceptual VR experiences. The reflections turn to the role of freedom and agency in interactive experiences and how these can help build a trusting relationship between creator and participant.

• Lossius, Trond (2023). Artist Talk at ESMAE, Porto. Fulltekst i vitenarkiv
• Lossius, Trond (2023). Elektroakustisk Trondheim i Planetariet vol. 3. Fulltekst i vitenarkiv Vis sammendrag

  Konsertprogram: City Flow avFrank Ekeberg; Solar Winds...and Beyond av Elizabeth Anderson; Edgelands av Trond Lossius

• Lossius, Trond (2023). Concert at Escola Superior de Música e Artes do Espetáculo. Fulltekst i vitenarkiv
• Lossius, Trond (2023). En kulturpolitisk nyvinning Kunstnerne har oppdaget verdien av doktorgraden i kunstnerisk utviklingsarbeid. Morgenbladet. ISSN 0805-3847. s. 26–26. Fulltekst i vitenarkiv
• Lossius, Trond; Lindahl, Ingeborg Annie & Grünfeld, Nina (2023). FTS-podden: Trond Lossius & Ingeborg Annie Lindahl (episode 2). [Radio]. Podcast - FTS-podden. Fulltekst i vitenarkiv Vis sammendrag

  Velkommen til film-, tv- og spillskolenes podkast ved Høgskolen Innlandet. I denne podden møter du fagansatte, stipendiater og studenter ved landets ledende utdanningsinstitusjon innen det audiovisuelle feltet, dvs. de som jobber, underviser, forsker, virker og lærer ved Den norske filmskolen, tv-skolen og Spillskolen. I denne episoden møter du Trond Lossius, professor i og ph.d-leder ved Den norske filmskolen. Med seg har han billedkunstner Ingeborg Annie Lindahl. Nina Grünfeld, Prodekan for kunstnerisk utviklingsarbeid og forskning, leder samtalen.

• Parkins, Andrea; Crispin, Darla M. & Lossius, Trond (2022). “Sonic Spaces for the Stray”: (Dif)Fusing Dis-location in Sound Installation and Performance. doi: 10.22501/nmh-ar.564923. Fulltekst i vitenarkiv Vis sammendrag

  This project examines subjectivity and its embodiment through the application of interactive electronics within sound installation and performance. It employs a merging of theory, method and practice that has not been fully researched to date and which represents a valuable addition to sound performance and electroacoustic composition. My artistic research focuses on an ongoing series of improvisational/compositional experiments, moving between a dedicated workspace and sound production studios where I will work with acousticians, engineers, and programmers. The aim is to develop gestural/embodied approaches for applying interactive electronics within sound performance and fixed-media composition—mining tensions between failure and fluency; and diffusion strategies that highlight correspondences between embodiment, sound and space—emphasizing tensions between absence and presence. Foundational research includes studying methods and applications for investigating spatialization and psychoacoustics, employed by artists including Maryanne Amacher. I will also study concepts/methods developed by artists such as George E. Lewis, focusing on interaction between algorithmically-based technology tools and physical gesture in musical improvisation. This research also engages with Julia Kristeva’s psychoanalytically-based writing on abjection and the sublime, grounding my studio-based research in theoretical inquiry that engages with subjectivity and embodiment. Supplementary research will address psychoacoustics, aural architecture, and spatialization theory and technologies. The outcome of the project will be twofold: a body of sound installations and performances demonstrating an interactive approach to addressing relationships between the body, materiality, sound, space and situation; and a set of reflective writings that articulates the poetics and affective aspects of this multi-layered inquiry. The completed project will offer new knowledge production in the field of artistic research, and transmission of interdisciplinary knowledge to creative practitioners.

• Wells, Craig; Lossius, Trond & Frisk, Henrik (2022). Emergent Ears. doi: 10.22501/rc.1556340. Fulltekst i vitenarkiv Vis sammendrag

  We listen to histories as our histories are in the process of sounding out and between the sounded and sounding we find a site of self mystification, a residue where the self is accumulated, engineered and multiplied. There was a time when I found it difficult to understand philosophical concepts, up until a point that I could use sound as a means of thinking through and doing philosophy. It was then that philosophy took on a material form and suddenly I could hear philosophy all around me. For seeing is believing, but listening is full of doubt. To doubt one's surroundings and what appears to the body is at the heart of a continental philosophy, one that is immersed in encounter and speculates the unheard. Working with and thinking through sound is doing philosophy, philosophical questions are resolved through the materiality of praxis. When language fails, sound elaborates and merges itself with architectural space and technological arbitration, wrenching apart archaic correlations between subject and object with the contingency of the sonic event.My research initially took the form of a fourfold consisting of spatial audio, electronic instrumentation, improvisation and philosophy and I attempted to find surrogate connections between these areas distinct from any hegemonic methodologies borrowed from the humanities. In turn this gave my practice the emancipation to spawn its own relations, to accelerate and create its own images of thought whilst at the same time exponentially fabricate a range of monikers and fictional selves that could produce without the expectations of the other. I have inhabited unknown crevices and intervals between all four nodes and throughout this research the demarcations between each terrain seemed less defined. I have established a topology of knowledge that hinges on folds, tangles, knots and slopes rather than a geometry of logical deductions. The intermingling of materiality, thought, and language informs the work both structurally and stylistically.This research is essentially an inquiry through sound, sensation and the reconciliation with the self that I have endeavoured to investigate, whilst at the same time proliferating an ontology that hinges on allure and attraction. It is an ontology that is grounded in materiality, accidents and contingency and posits a philosophy of decomposition, degrading repetitions and vibratory cycles of erasure. Sound has the capacity to radiate obscure references and produce alternative rhythms of imagination, where sounds begin to seep into words. At times the research methods deployed hinge on being illegitimate but are essential in fuelling the engine that creates sensory epistemologies that deviate from institutional, historical and academic frameworks that often rely on the apparatus of logic, calculation, syllogism and sign operations. I highlight the potentiality of the actual and virtual as it unfolds from materiality, as a plethora of excitations that buffer the real. I elude polemics and instead weave together a dialogical tapestry of conduits that at times sacrifice chronology, theoretical totems and orientation in order to reconcile sonic encounter with sound-in-itself and sound as it is for me.

• Thuestad, Thorolf Oscar; Lossius, Trond & Hodkinson, Juliana (2022). Emotional Machines - Composing for Unstable Media. doi: 10.22501/kmd-ar.426170. Fulltekst i vitenarkiv Vis sammendrag

  The artistic research project Emotional machines - composing for unstable media explores how non-representational kinetic objects may afford affective and emotional responses, in particular experiences of kinship and relation between an audience and animated objects. Further possibilities for artistic expression are opened through composition and dramaturgy, in works where the animated objects perform alongside human performers and other media, such as light and sound. How may such animated non-representational physical objects be developed? How does animating the physical objects change the potential for experience of kinship and relation between audience and object? How does context modulate the potential for experience of kinship and relation between audience and animated physical object? How does the potential experience of kinship with the animated object differ for the creator of the object, and audience? These questions have been investigated through the creation of a set of animated kinetic figures. These figures have performed in a series of artistic presentations such as gallery exhibitions and stage presentations. The artistic research concludes with two complementary public artistic presentations taking place in Bergen in June/July 2021; a time-based stage production at Cornerteatret and a gallery exhibition at Lydgalleriet. The presentations are considered connected and have the common title "For one – for many – for all". This is an exposition of the research that presents the kinetic figures, the process of developing them, the questions they have contributed to explore, resulting artistic works (with particular emphasis on the final artistic presentations taking place in June/July 2021), the additional artists contributing to these public presentations, and a series of reflections resulting from the research.

• Thorstensen, Gina; Lossius, Trond & Fredriksen-Sylte, Alexander (2022). Syngende reke i sentrum av norsk VR-opplevelse. [Internet]. NRK. Fulltekst i vitenarkiv Vis sammendrag

  «Kabaret» blander elementer fra film, musikk og dataspill for å fortelle om livet i havet.

• Brandtsegg, Øyvind; Welsh, Jeremy; Ham, Tijs; Lossius, Trond & Wanthiang, Piya (2022). Uns/Table. Fulltekst i vitenarkiv
• Bø, Eli; Grünfeld, Nina; Festøy, Elin; Senje, Siri; Lossius, Trond & Hestvold, Frederik (2022). Panelsamtale om kunstnerisk utviklingsarbeid. Fulltekst i vitenarkiv
• Lossius, Trond (2022). Kunstneriske uttrykksmuligheter i arbeid med nye 3D surround lydformat. Fulltekst i vitenarkiv
• Lossius, Trond (2022). Konsert ved Griegakademiet. Fulltekst i vitenarkiv
• Lossius, Trond (2022). Sonic Lab Concert 1 - Sonorities Festival Belfast 2022. Fulltekst i vitenarkiv
• Lossius, Trond (2022). Stedet renner gjennom meg, Jeg TENKTE ikke at jeg skulle helle LEIRE på GULVET for å lage en god LYD. TILT. ISSN 9788269049770. s. 94–117. Fulltekst i vitenarkiv Vis sammendrag

  jeg TENKTE ikke at jeg skulle helle LEIRE på GULVET for å lage en god LYD er en bok som oppsummerer et tre år langt prosjekt ved Senter for keramisk kunst på Ringebu Prestegard. Prosjektrommet er et fjøs. Vinduene er vestvendte med storslagen utsikt over Gudbrandsdalslågen. Arbeidet foregikk delvis åpent for publikum og genererte mange undersøkelser, eksperimenter og uforutsigbare resultater. Ofte var jeg alene. Med skisseblokk, videokamera, fotografiapparat og skrivemaskin registrerte jeg det jeg så og opplevde. Det jeg hørte, det jeg snakket med andre om og det andre fortalte meg. I kortere perioder inviterte jeg inn en rekke kollegaer som deltok i eksperimentet gjennom lyd, musikk, foto og tekst. Prosjektet, som forøvrig tok utgangspunkt i 37 forlatte søyler, bygget av ti tonn leire, var i konstant transformasjon og samtidig sterkt knyttet til stedet. Hvorfor og hvordan kan noe slikt fanges i et bokformat?

• Møster, Kjetil Traavik; Dahl, Thomas T & Lossius, Trond (2021). Playing the Electrophonic Saxophone. doi: 10.22501/kmd-ar.1160461. Fulltekst i vitenarkiv Vis sammendrag

  'Playing the Electrophonic Saxophone' explores the expanded role of the instrument and relations made possible by such expansions. In and through artistic practice, I research the many processes, tensions, and artistic possibilities that emerge through interplay. How can exploring possibilities and conditions for the acoustic saxophone in interplay with electric and electronic tools and sounds pave the way for new music, new insights, and expand the conception of what the instrument can be? How can playing with electrically and digitally manipulated sound facilitate the instrument’s ability to connect to musicians and artists from other fields of practice? The research’s main artistic outcome is the sum of a series of artistic projects presented in this exposition. The two texts 'Playing Air' and 'Playing Parasitic' constitute the ethical and methodological basis for the research and my practice and transfer to the projects’ two basic elements: roles and their relations. The band Møster! acts as the main project ensemble, and the PhD research is finalized with a public artistic presentation at the Nattjazz Festival, Røkeriet USF, Bergen on June 1st, 2021.

• Habte, Mahlet Ogbe & Lossius, Trond (2021). Kunstnersamtale om Mahlet Ogbe Habte's utstilling "Screaming Blood". Fulltekst i vitenarkiv Vis sammendrag

  Om den etiopiske komponisten Saint Yared (505-571 e.Kr.) vart det sagt at han fekk den musikalske innsikta si gjennom eit møte med tre fuglar, som inspirerte han til å skapa tre ulike modale skalaer. Gjennom studiar av Saint Yared, og særleg hymnen «Seatat» frå «dei dødes songar» (Mewasit), ønskjer Mahlet Ogbe Habte å nytta lyd for å formidla utan å måtta gå omvegen via intellektet. Sjølv om musikk berre er ein konstellasjon av lydbølgjer, kan han gi oss emosjonelle erfaringar og setja oss i ulike sinnstilstandar på ein annan måte enn språkleg og visuell kommunikasjon. I Habtes lydinstallasjonar følgjer vi mennesket Yared gjennom livsløpet hans, frå fødselsaugneblinken, via ein vanskeleg oppvekst, og til tida då han mottok sin heilage innsikt. Ved å fokusera på Yared sine tidlege år, ønskjer Habte ei audmjuk tilnærming til meisteren, eit utgangspunkt der det kan vera mogleg å koma nærare mennesket Yared, og dermed forstå han betre. Arbeida dreier seg om håp, like mykje som om tap og sorg. Habte har levd tett på sorgprosessar i heimlandet sitt, Eritrea, og målet hennar er å setja publikum i stand til å ta inn over seg kompleksiteten i dei ulike lidingshistoriene som følgjer av dei kontemporære krisene i dag. Men «Seatat» er ikkje ein klagesong, tvert imot er det ein «chant» som skal sørgja for vår udødelege sjels velvære. Måten vi som menneske uttrykkjer sorg på, varierer frå kultur til kultur, men smerta vi føler når vi går gjennom ein sorgprosess, har ein felles, tidlaus kvalitet, som går på tvers av barrierar som etnisk tilknyting, språk og hudfarge. Det er likevel ikkje noko moraliserande over Habtes prosjekt. Heller kanskje ein vennleg dult, eit nikk i retning av ein felles grunn som vi som menneske har tilgang på, men som vi ikkje nyttar oss tilstrekkeleg av, eller har gløymt eksisterer. Utstillinga «Screaming Blood» består av fleire lydarbeid, som supplerast av fysiske installasjonar, samt ei gruppe måleri. Mens lyden frå «Dei dødes songar» kan knytast opp mot ei universell tapskjensle, kan dei fargerike måleria og installasjonen til samanlikning stå fram som oppmuntrande og håpefulle. Dei er skapte med utgangspunkt i funne materiale som eller ville blitt kasta. Dei fargerike flatene gir assosiasjonar til kart og havoverflater, og i dette anar vi at forflytting eller endring kan skje. Vi ser ein venleik i det forgjengelege, men også ein parallell til dei stendig fleire namnlause som årleg blir borte i havet, på jakt etter eit betre liv. Kunstnar og filmskapar Mahlet Ogbe Habte er utdanna ved Kunsthøgskolen i Bergen (no KMD) og ved Met Film School i London. Ho er fødd og oppvaksen i Eritrea, men bur og arbeider i dag i Noreg. Ho har deltatt i ei rekkje nasjonale og internasjonale utstillingar og andre kunstprosjekt. Lydarbeida er laga i samarbeid med komponist Fridtjof Wesseltoft.

• Brandtsegg, Øyvind; Ham, Tijs; Welsh, Jeremy; Lossius, Trond & Wanthiang, Apichaya (2021). Vibrasjoner, lyd og lys på Billaget. [Journal]. Trollheimsporten. Fulltekst i vitenarkiv
• Lossius, Trond (2021). One more time, let's do it again! VIS – Nordic Journal for Artistic Research. Fulltekst i vitenarkiv
• Huzing, Jiska; Lossius, Trond & Andersen, Anna Ulrikke (2021). Kunstnersamtale ULYDIGE BYGG: Jiska Huizing og Trond Lossius // Lyd og sted. Fulltekst i vitenarkiv Vis sammendrag

  Kunstnersamtale om lyd og sted. “Ulydige bygg” er et lydverk av Jiska Huizing: et samarbeid mellom forskningsprosjektet Disobedient Buildings, Huizing og Van Etten. Huizings verk tar de besøkende med rundt i området rundt Enerhaugen Borettslag på Tøyen i Oslo, hvor lyden fører oss inn bak dører, opp i etasjene, eller under jorden. Verket er presentert gjennom en nettside og en publikasjon med tekst, bilder og kart. Lydkunstner Trond Lossius fra Den Norske Filmskole og Griegakadmiet, har besøkt verket, og samtaler med Huizing om hvordan lyd kan utforske sted, bygninger og hverdagsliv. Når bygninger eldes, kan de bli ulydige. Nye beboere flytter inn, materialer ruster og nabolaget forandrer seg. Kan dette ulydige utforskes ved lyd? I to år har en gruppe forskere på prosjektet Disobedient Buildings ved Universitetet i Oxford undersøkt hvordan folk i dag opplever å bo i boligblokker som eldes. Som et samarbeid mellom forskerne og Van Etten Gallery har lydkunstner Jiska Huizing fått tilgang til innsamlet materiale og respondert på dette gjennom et stedsspesifikt lydverk. Huizings verk tar de besøkende med rundt i området rundt Enerhaugen Borettslag på Tøyen i Oslo, hvor lyden fører oss inn bak dører, opp i etasjene, eller under jorden. Verket er presentert gjennom en nettside og en publikasjon med tekst, bilder og kart.

• Lossius, Trond (2021). «Leirens kollaps – derhen og derfra» - en respons i lyd til Katrine Køster Holsts arbeid. Fulltekst i vitenarkiv
• Lossius, Trond & Smolicki, Jacek (2021). Presentation of VIS - Nordic Journal for Artistic Research, Issue 5 – “One more time, let’s do it again!”. Fulltekst i vitenarkiv Vis sammendrag

  VIS – Nordic Journal for Artistic Research is releasing its fifth issue on 15 March, and we welcome you all to celebrate the release with us! Edited by Trond Lossius, the issue’s theme is “One more time, let’s do it again”, with expositions working with the artistic potential of repetition, returning to work from another time or revisiting previously explored ideas. The release will be held as part of the online conference Artistic Research Spring Forum. Editor Trond Lossius will describe some of the new impulses and perspectives that have been raised during the work with the issue, as well as presenting the various ways the contributors of the issue have tackled the theme. In addition, Jacek Smolicki will present his exposition “Minuting. Rethinking the Ordinary Through the Ritual of Transversal Listening.” from the issue. Expositions in this issue: "Minuting. Rethinking the Ordinary Through the Ritual of Transversal Listening." by Jacek Smolicki, "Reiterate, rerun, repeat" by Michael Duch and Jeremy Welsh, "Beyond the Saturation Point" by Annette Arlander, "NATURFILM" by Elisa Rossholm and Anna Sofia Rossholm, "Piskan ställningen" by Livia Prawitz, "Haunted houses" by Emelie Carlén and ",__ ^_. ||:_DOWN_DEEPCUTS_'LOCK[ANIMÉ.INVENTION] :||,•__\-‘ - - ÉTUDES FOR THE BEGINNING OF AN ONLINE PRACTICE" by Josh Spear. VIS – Nordic Journal for Artistic Research is a digital journal presenting artistic research, emphasising the importance of reflection that is interwoven with artistic practice, thereby generating new knowledge. The journal is the result of a joint initiative by Stockholm University of the Arts, SKH and the Norwegian Artistic Research Programme, Diku. See less

• Lossius, Trond; Parkins, Andrea; Holbrook, Ulf A. S.; Hernandez, Katt; Wells, Craig & Bunnskog, Magnus [Vis alle 7 forfattere av denne artikkelen] (2020). FRST 2020 / Puls Concert #8. Fulltekst i vitenarkiv Vis sammendrag

  Lydinstallasjon og konsert kuratert av Trond Lossius. Program: [A] Lydinstallasjon Andrea Parkins: Studio Drawing, [B] Konsert: [B1] Ulf A. S. Holbrook: Tessalation rift, [B2] Katt Hernadez: Vart ska dom ta vägen nu?, [B3] Craig Wells: Mood Swing, [B4] Trond Lossius: Edgelands.

• Kvinnsland, Bjarne; Lossius, Trond & Rothenberg, David (2020). Borealis 2020: Opening concert. Fulltekst i vitenarkiv Vis sammendrag

  With duets with bears to the shouts of voices ringing in the halls, the words of South African poet Keorapetse Kgositsile, and a world premiere from acclaimed composer George Lewis, Borealis swings open the doors between the Natural History Museum and the University Aula in Bergen to celebrate the opening of the festival. Starting in the newly renovated Natural History Museum we’ll hear improvised musical conversations with the newly housed animals by an ensemble of performers from the Grieg Academy, Dyp sang, hvalens kulturlyder – a sound installation in the Whale Room by Bjarne Kvinnsland, Trond Lossius and David Rothenberg – and a musical intervention from F*Choir, bringing their own brand of feminist punk choir to the staircases and open spaces of the museum. Away from the immaculate taxidermy, in the grand setting of the University Aula, British vocalist and composer Elaine Mitchener will celebrate the music of American composer George Lewis, alongside the Norwegian Naval Forces Band. From his early days in the 1970s as a member of the influential Association for the Advancement of Creative Musicians in Chicago, through his pioneering work with electronic and computer music to his large body of notated and improvised music, teaching and writing George Lewis is one of the leading voices of modern composition. To close the evening the Norwegian Naval Forces Band will premiere a major new work commissioned from Lewis for the festival.

• Lossius, Trond (2020). Leder: Spor i materiale og teknikk. VIS – Nordic Journal for Artistic Research. Fulltekst i vitenarkiv
• Lossius, Trond (2020). VIS Nordic Journal for Artistic Research: Presentation of Issue 4, the VIS peer-review model and thoughts on the value f including the work by current and recent PhD researchers. Fulltekst i vitenarkiv
• Lossius, Trond (2020). Edgelands. Fulltekst i vitenarkiv Vis sammendrag

  Presented as part of the exhibition "The Latent City", curated by BEK Bergen Centre for Electronic Arts, taking place at Bergen Kjøtt and online. Edgelands (2019) starts from a series of field recordings from the suburbs and fringes of the city. These zones are critical as urban infrastructures, residential areas and for transport and industry. Still, they come across as bland, banal, and anonymous, haphazardly developed and aesthetically neglected. The suburban field recordings negate the dualism of nature and culture. Instead, insects, birds, wind and water cohabitate the sonic environment alongside footsteps, voices, dogs, traffic, trains and aeroplanes. The suburban soundscape is truly anthropocene and testifies to current political, societal, economic and environmental conditions. Edgelands make use of field recordings from Bergen, Stockholm, Stoke on Trent, Cape Town and Windhoek. Commissioned by NOTAM, Edgelands premiered at the Ultima festival in 2019.

• Lossius, Trond (2020). Presentation of VIS - Nordic Journal for Artistic Research - Issue 4. Fulltekst i vitenarkiv
• Lossius, Trond (2020). Composing Edgelands. Fulltekst i vitenarkiv
• Lossius, Trond (2019). Procedures for registering final assessment. Fulltekst i vitenarkiv
• Schwab, Michael; Barth, Theodor; Lossius, Trond; Garcia, Dora & Sustersic, Apolonija (2019). Formats of the findings in artistic research: exposition/transpositions. Fulltekst i vitenarkiv Vis sammendrag

  Speech by Michael Schwab, followed by a discussion with Schwab, Trond Lossius, Theo Barth, Dora Garcia, Apolonija Šušteršič. Hosted by Jørn Mortensen. Since the introduction of "artistic research" as an institutionalised concept both within the practice field and in the university and higher education sector (the academic field), there have been discussions about formats on the findings of the research. Few would argue that art and/or artistic practice is limited – both methodological or epistemological - as a domain for production of insights, erkentnis, experiences, and understanding of man's relation to her social, political, emotional and aesthetic surroundings. But since art operates within different institutionalised frameworks (as is the case with a wide range of practices (law, medicine, engineering etc.), art and artistic research are faced different expectations from different agents. This is of course old news and has been eloquently investigated by Henk Borgdorff in his book The Conflict of the Faculties (Leiden University Press 2012), where he investigates many of the "conflict lines" between artistic and academic practice. These investigations very often lead to elaborations within theory of science, and in particular; how epistemological investigations can help to understand how artistic practice can serve as explorative and investigating force. One of the challenges Borgdorff and his colleague in "Journal of Artistic Research" (JAR), Michael Schwab, has dealt with, is the nature of the outcome of research based artistic practice, and how it can meet standards both within artistic and academic field. (Standards within the academic field are expressed in the Frascati manual and include criteria like novelty, systematic, originality, transferability.) As part of the development of the peer-reviewed journal JAR, Schwab and Borgdorff proposed the concept of the exposition as an alternative to the academic essay/article: "An exposition is comparable with what articles are in traditional journals. It has a title, one or more authors, an abstract, a media file that can be used to represent the exposition and a set of closed-vocabulary metadata. As the name suggests, the purpose of an exposition is to 'expose' practice as research rather than simply document or refer to it." (M. Schwab: The SAGE Handbook for Dissertations and Theses. p. 346, Sage 2012) To meet the academic criteria listed above and to meet the standards of a practice field must involve some sort of translation. The Frascati manual actually says: "The codification of knowledge and its dissemination is part of the usual practice in universities and research institutes,.."(2.4 Transferability and/or reproducibility, 2.20) Codification is a condition for sharing. Recently Michael Schwab launched the anthology Transpositions: Aesthetico-Epistemic Operators in Artistic Research (Leuven University Press 2018). Transposition as musical concept represents a shift to a different key, to a different range, to something new but still with a clear reference to what you left. How can transpositional logic be of relevance for the format of the findings of artistic result? How do we – or shall we (?) – translate the findings of artistic research so that they both satisfy artistic standards and academic rigour?

• Clauder, Ingvo; Tveit, Anders; Evensen, Terje & Lossius, Trond (2019). In a Now. Fulltekst i vitenarkiv
• Lossius, Trond (2019). Timeline and structure of the fellowship period, including midterm evaluation. Fulltekst i vitenarkiv
• Lossius, Trond (2019). Contributing to the field, situating results. Fulltekst i vitenarkiv
• Lossius, Trond & Welsh, Jeremy (2019). The Atmospherics – River deep, mountain high. Fulltekst i vitenarkiv Vis sammendrag

  The Atmospherics is one of the ongoing collaborative projects of Trond Lossius and Jeremy Welsh. Through field recordings they capture unique qualities from different natural landscapes and urban areas. The recorded audio and video material is then filtered, edited, modified and mixed to highlight some characters or to mute others. The intention is not to document the sites, but rather to build a database of audiovisual material that is combined in different ways in their installations, where each assembly becomes a "temporary place", constructed of impulses from different geographical areas. Since 2014, the project has moved from Bergen, Trondheim, Arendal, Førde, Utne and Campania, Italy, where it has been presented in various installations with multi-screen video and multi-channel audio. The new video adapted to the cinema format, which premieres at Entrée, summarizes this entire project, and combines material from all the different phases and parts of the country.

• Mortensen, Jørn & Lossius, Trond (2018). Opening by KHiO’s rector and research director. Fulltekst i vitenarkiv Vis sammendrag

  Opening of the Artistic Research Week 2018 by KHiO’s rector Jørn Mortensen and research director Trond Lossius. Time: Tuesday 23 January 2018 Venue: Hovedscenen, Oslo National Academy of the Arts

• Guttu, Ane Hjort; Frank, Rike; Lid, Tore Vagn; Barth, Theodor; Gmelin, Felix & Iunker, Finn [Vis alle 7 forfattere av denne artikkelen] (2018). Session 7: In dialogue with. Fulltekst i vitenarkiv Vis sammendrag

  Part 1: Ane Hjort Guttu in dialogue with Rike Frank Part 2: Tore Vagn Lid in dialogue with Theodor Barth Part 3: Felix Gmelin in dialogue with Rike Frank Part 4: Finn Iunker in dialogue with Trond Lossius Time: Thursday 25 January 2018 Venue: Stage 4, Oslo National Academy of the Arts

• Lossius, Trond (2018). Timeline and structure. Supervising an artistic PhD/ARF project. Fulltekst i vitenarkiv
• Lossius, Trond (2018). How I work with Ambisonic Toolkit for Reaper. Fulltekst i vitenarkiv Vis sammendrag

  In this workshop we will immerse ourselves in a central technique of immersive sound; Ambisonics. We will go into the theoretical foundation behind Ambisonics, learn to master the tools practically as well as look into how to work with space artistically. We will also get a visit by Trond Lossius who has worked with Joseph Anderson to create the Ambisonics toolkit for Reaper.

• Lossius, Trond (2018). Contributing to the field, situating results. Fulltekst i vitenarkiv
• Lossius, Trond (2018). Introduction to methodology in Artistic Research. Fulltekst i vitenarkiv
• Johansen, Ina Gravem; Bugge, Liv & Lossius, Trond (2018). Doktorkunst. Forsker på aggresjon og fossile avtrykk. [Internet]. plnty. Fulltekst i vitenarkiv Vis sammendrag

  The Other Wild, er utstillingen der skulpturer, lydverk, film og installasjon speiler Liv Bugges kunstforskning, som handler om det menneskelige og det ikke-menneskelige. Dette er også ferdigstillelsen av hennes doktorgradsavhandling. Hva vil det si å forske i kunst?

• Iunker, Finn & Lossius, Trond (2018). Finn Iunker in dialogue with Trond Lossius. [Journal]. Kunsthøgskolen i Oslo. Fulltekst i vitenarkiv Vis sammendrag

  Samtale under Kunstnerisk forskningsuke

• Lossius, Trond (2018). Artist talk. Fulltekst i vitenarkiv
• Lossius, Trond (2018). Å holde øyeblikket (Lydinstallasjon). Fulltekst i vitenarkiv Vis sammendrag

  Unpacking an archive, evoking memory and loss, re-animating musical fragments; sound and installation artist Trond Lossius’ Å holde øyeblikket is a moving exploration of the archive and music of the late composer and educator Morten Eide Pedersen. Based on Pedersen’s compositions, and extracts, fragments and material further processed by Trond, the installation is a series of episodes each representing a state, a situation, a material or a picture, as a series of tones. Common to each sonic moment is that it is stretched and held tight before it slips away. As a close friend of Morten Eide Pedersen, Lossius has not only evoked his musical legacy, but his impact as a human being. Eide Pedersen encouraged those around him to hold on to the moment, not only in music but also as a presence in the world and in association with others. Å holde øyeblikket was first commissioned and presented by Borealis in 2017 as part of the minifestivalen GJENLYD. Supported by Arts Council Norway and City of Bergen.

• Lossius, Trond; Mogstad, Jon Arne & Welsh, Jeremy (2018). LMW - I can travel light years. Fulltekst i vitenarkiv
• Lossius, Trond & Jakobsen, Kristine (2018). How to convey artists' books in a digital world. Fulltekst i vitenarkiv Vis sammendrag

  Winner of the Irmgard Lankenau Poster Prize

• Sacks, Stacey; Lossius, Trond & Hernandez, Katt (2018). Gentrifuckation and the Ghost Quarters. Fulltekst i vitenarkiv Vis sammendrag

  Et bestilt samarbeid mellom Katt Hernandez, Trond Lossius og Stacey Sacks. Hva skjer når kuratorer går inn i valg av lokalisering, kontekst og forhold for kunstproduksjon? Eller i dette tilfellet, også sammensetningen av kunstnere? Gentrifuckation and the Ghost Quarters: space in meditation and uprising er et kollaborativt og kuratorisk eksperiment der Skippergata blir brukt som ramme for den kunstneriske praksisen til performer Stacey Sacks, lydkunstner Trond Lossius og fiolinist Katt Hernandez.

• Winderen, Jana; Neset, Anne Hilde; Lossius, Trond & Jacobsen, Erik (2018). Kulturreportasjen Kunst. [Radio]. NRK Radio. Fulltekst i vitenarkiv
• Kipphoff, Karen Erika Earle; Treimo, Henrik; Lange, Ellen; Langdalen, Siri; Canellis, Patricia & Lossius, Trond (2017). Blind Spot - Labor 1. Fulltekst i vitenarkiv
• Jensenius, Alexander Refsum; Kvifte, Tellef; Innervik, Kjell Tore; Martin, Charles Patrick; Brøvig-Hanssen, Ragnhild & Lossius, Trond [Vis alle 7 forfattere av denne artikkelen] (2017). Panel: New Interfaces for Musical Expression. Fulltekst i vitenarkiv
• Kipphoff, Karen Erika Earle; Haffner, Nik; Ullerup-Schmidt, Cecilie; Nadeau, Carole; Carvalho, Marcio & Lossius, Trond (2016). Workshop I, August 2016. Fulltekst i vitenarkiv
• Bergaust, Kristin; Vatn, Gunhild; Røed, Ellen Johanne; Lossius, Trond; Fehr, Anneke Von der & Hernes, Leif (2015). Randsoner-Ecotones. Fulltekst i vitenarkiv
• Place, Timothy; Lossius, Trond; Jensenius, Alexander Refsum & Peters, Nils (2008). Flexible Control of Composite Parameters in Max/MSP. Fulltekst i vitenarkiv Vis sammendrag

  Fundamental to the development of musical or artistic creative work is the ability to transform raw materials. This ability implies the facility to master many facets of the material, and to shape it with plasticity. Computer music environments typically provide points of control to manipulate material by supplying parameters with controllable values. This capability to control the values of parameters is inadequate for many artistic endeavors, and does not reflect the analogous tools and methods of artists working with physical materials. Rather than viewing parameters in computer-based systems as single points of control, the authors posit that parameters must become more multifaceted and dynamic in order to serve the needs of artists. The authors propose an expanded notion of how to work with parameters in computer-centric environments for time-based art. A proposed partial solution to this problem is to give parameters additional properties that define their behavior. An example implementation of these ideas is presented in Jamoma.

• Place, Timothy; Lossius, Trond; Jensenius, Alexander Refsum; Peters, Nils & Baltazar, Pascal (2008). Addressing Classes by Differentiating Values and Properties in OSC. Fulltekst i vitenarkiv Vis sammendrag

  An approach for creating structured Open Sound Control (OSC) messages by separating the addressing of node values and node properties is suggested. This includes a method for querying values and properties. As a result, it is possible to address complex nodes as classes inside of more complex tree structures using an OSC namespace. This is particularly useful for creating flexible communication in modular systems. A prototype implementation is presented and discussed.

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