Acknowledgements
I wish to express my gratitude to the
following people, who have helped in various ways during my work with this
project.
Thanks to:
- My supervisors Carl Haakon Waadeland and
Ivar Frounberg.
- Thomas Oxem for mixing of some of the
audio examples provided in the artistic documentation. Thomas mixed all of
the Motorpsycho examples, the “Rømmegrøten” examples done in the studio,
and the Aleph live recording from June 2007.
- Letizia Jaccheri for initiating and
supervising student projects at NTNU/IDI, related to software development.
- Students Thor Arne Gald Semb and Audun
Småge participating in the projects ”Artistic Software” (2005) and
”Software Architecture of the Algorithmic Music System ImproSculpt”
(2006). The modular software architecture as described by Gald Semb and
Småge has been used as a template for further architecture design work in
ImproSculpt.
- Students Thibault Collet and Maximo
Ramirez participating in the project “When OS meets AS”, setting up the
Open Source Project for ImproSculpt at Sourceforge.
- Student Rune Flobakk for participating
in the project “A framework for creating pluggable graphical user
interfaces for ImproSculpt”.
- Students Adrien Garioud, Christophe
Leb`egue, Godfrey Mayende, Henrik Mogens Gundersen, Mari Lie Hæreid and Trond
Engum for participating in the project ”Flounderphonics”, exploring and
testing network solutions for network transport. Robin Støckert did
supervise the practical work in the “Flounderphonics” project, while
Jaccheri supervised the formal part.
- Gunnar Tufte for initiating and
supervising the student project “Using biologically inspired algorithms
for improvisation in music”, and student Per Kåre Otteren for
participating in the same project.
- Anna Trifonova
for helpful comments on the ImproSculpt4 documentation.
- Sigurd Saue for supervising the student
project at NTNU/Acoustics, covering the development of the partikkel
opcode for Csound. Students Thom Johansen and Torgeir Strand Pettersen
participating in the same project. . Thom Johansen also worked on the
partikkel code after the student project was finished, finalizing the code
to a state where it was ready for public release.
- Robin Støckert at Soundscape Studios, Trondheim. Støckert has been an important partner in discussing technical solutions related
to hardware in the research project. He was also the technical producer of
the “Flyndre” sound installation.
- Randi Martine Brockmann, as producer (Kulturbyrået Mesén) of the “Flyndre” installation, as my girlfriend, as a continual
source of generous support, and as a discussion partner for artistic
ideas.
- Geir Arne Breivik and Johan Bakken at Kulturbyrået
Mesén for the web design for the ”Flyndre” sound installation
(www.flyndresang.no). The animation on the front page was made by Erle
Stenberg based on photos by Marcus Edvardsen
- Johan Bakken also designed the
ImproSculpt logo.
- Jan Paul Brockmann for interesting
discussions about art, esthetics, philosophy, and academic work. Jan has
also helped by reading and commenting on my written material.
- Composers Anders Vinjar and Bertil Palmar
Johansen for fruitful discussions.
- Eirik Kvam at Avatar Translations for
help translating parts of the text into English.
- Inger Jorid Brandtsegg, Ylva Øyen Brandtsegg, Tyra Øyen
Brandtsegg and Vilja Øyen Brandtsegg for song recordings used in the
Flyndre installation.
- Nils Aas for allowing me to do the
“Flyndre” sound installation, building upon his sculpture also named
“Flyndre”. Nils was also a dedicated conversation partner from whom I have
learned a lot.
- Christine Reintz and Atle Aas for enthusiastic
support and help with the “Flyndre” sound installation.
- All of the musicians I’ve played with
during the course of the project have contributed significantly to my
knowledge by means of conversations both verbally and musically.
- Tor Breivik,
- Else Bø,
- Thomas T. Dahl,
- Michael Francis Duch,
- Mathias Eick,
- Siri Gjære,
- Eirik Hegdal,
- Arve Henriksen,
- Finn Olav Holte,
- Svante Henrysson,
- Kenneth Kapstad,
- Maria Kannegaard,
- Audun Kleive,
- Mattis Kleppen,
- Ole Thomas Kolberg,
- Marianne Bauduin Lie,
- Ingrid Lode,
- Live Maria Roggen,
- Jacco van Rooj,
- Hans Magnus Ryan,
- SISU Percussion Ensemble,
- Sigrid Stang,
- Ståle Storløkken,
- Bent Sæther,
- Carl Haakon Waadeland,
- Stian Westerhus,
- Eirik Øyen,
- Tone Åse,
- Viel B. Andresen for collaboration on the
project “Irrganger”, and Anne Gro Erikstad for organizing that project.
- Andreas Aase, Eirik Blekesaunet, and John
Pål Inderberg for inspiring and fruitful conversations about
improvisation, technology, and music making in general. Andreas Aase has
also contributed by reading and commenting on the written material.
- Erling Aksdal at NTNU for encouraging me
to apply for the scholarship again after being turned down the first time
I applied.
- Bjørn Alterhaug, Kjell Oversand and Rolf
Inge Godøy for discussions about academic insights to improvisation and
composition.
- Sven Sören Beyer, Peter Castine, Arnold
Dreyblatt, Orm Finnendal, Sukandar Kartadinata, Carsten Seifferth and
Christian Steinhäuser for fruitful conversations in Berlin, about art and
music technology in general and ImproSculpt in particular.
- David Cope, Peter Elsea, Soren Goodman
and Paul Nauert for everything I learned at WACM 2005 (Workshop in
Algorithmic Composition of Music).
- Last but not least: the Csound community.
This project would have been totally out of reach if it were not for the
development of Csound and the fruitful discussions on the csound mailing
list. All of the csound community has been of help. Special thanks goes to
Steven Yi, John ffitch, Michael Gogins, Richard Boulanger, Victor
Lazzarini, Rory Walsh and Dave Phillips.