This piece was performed live 18 times over the 48 hour Neukölln gallery weekend 18th of June  at Studio Baustelle in Berlin. The audio was intented to help the artists in the painting performance get into a special state of mind. The groups of frequencies in the piece represent the classical planets, and were binaural. The piece is site-specific since wavelengths of the lower frequencies were chosen to fit the venue such that interference points were created that artists and audience could move between them and experience different things.
https://www.instagram.com/p/CQeH150nkev/

Harmony of the spheres

Harmony of the spheres / There is something in the air

A recording of a sound performance at the El Puente art space in Vilaflor, Tenerife at the exhibition "sobre el agua / on water", March 11-13, 2022 featuring local artists and artists from Studio Baustelle, Berlin. The collage is composed of field recordings done by me on Tenerife and in Berlin, and also samples from the Fonoteca de Canarias field recording library. The photo is Origin I by Annsofie Jonsson. The Garoé was the sacred tree (Arbol Santo) of the natives (Bimbaches) of the Spanish Canary Island of El Hierro. The moisture carried by the trade winds condenses on the leaves of the tree. The original tree was toppled by a hurricane in the 17th century.

Garoe

Recording of my performance of Stains at Studio Baustelle, Berlin on the 1st of April 2022, at the opening of the exhibition Chthonic (https://www.studio-baustelle.org/exhibitions-events), curated by Annsofie Jonsson. This piece is based on a personal experience of having to surrender my body to external forces beyond my control, i.e. multiple surgeries, bacteria and the health care machine, all invading my body and inducing anxiety over an extended time. It is made entirely from field recordings I made in from buildings, machines, and people, that were played and manipulated live using Supercollider.

Stains

We may not be able to raise the dead, but we can help them raise their voices. To do so, the installation “Dead silence” is exhibited at Errant Sound, Berlin, consisting of a tombstone and a field recording from a tombstone in Leise Park, that is played back through the tombstone using transducers. The first three minutes are field recordings of visitors and sounds in Leise Park. The last three are one single recording from one tombstone using a contact mic. There is no manipulation of the recording beyond equalizing and slowing it down a bit. There was no interference with the tombstone during the recording. Can you hear their voices? The method of using contact microphones to listen to the tombstones was inspired by a dream I had after participating in a voodoo ritual, in which I received explicit instruction on a method for communicating with the dead.

Dead Silence - Negotiating noise with the non-living

Composition for the audio installation at On Water, Studio Baustelle, Berlin, 24th of August, 2022. Voices by students at Berlin School of Sound 2022.

Undines

First attempt at playing the ultrasonic feedback instrument I built as taught and kindly supported by John Driscoll.

Speitoun (ultrasound feedback loop)

First modular experiments. Unfortunately, SoundCloud compression removes all the dynamics in this piece. Any suggestions for a streaming platform that offers lossless streaming?

dragkamp

Escalator neural instrument playing with a tuning based on my own body measurements. Inspired by the @ktonal workshop last week on using machine learning in music, I trained a variational autoencoder using NSynth on my field recordings of creaking escalators. After the second workshop with @khyamallami at Berlin School of Sound today I used the tuning I created with #Leimma to play the neural virtual instrument using #Apotome. This is what it sounds like. Thanks Khyam for sharing knowledge and tools in such inspiring ways.

Neural escalator tuned to my body

bergtagen

As part of the Cities and Memory project, I did this remix of a Sunday mass in Coimbra, Portugal. All sounds in this track are from the original track but have been processed. The original track can be found here: https://audioboom.com/posts/8210061-sunday-morning-mass-in-coimbra

Grey Mass

Heavily modulated VCOs plus filter. I like these. They are the type of sounds I am looking for with modular synths. 
Cover: Dreamscape nr 2, painting by Annsofie Jonsson, Studio Baustelle

maskar

This is the recording of my live performance of Gastkram (Swedish for Ghost Hug) at the Wavefront event at Berlin School of Sound. I used the same tombstone as in "Dead silence" as a (hardly) resonating object, combining modular synthesis with live sampling through contact microphones to jam with the dead. At the end you will hear the speitoun(my name for the ultrasound feedback loop instrument I built with the kind support of John Driscoll of Composers Inside Electronics).

Gastkram (Ghost hug)

Just some fun with everyday sounds from home

Knar

Bixflus I

8-bit loop to get your hamster wheel started, in supercollider code that fits in a tweet:

play{
	f=Duty.kr(1/[1,2,8],0,Dseq([0,1,13,6]+24,inf));
	FreeVerb.ar(Pulse.ar(f.midicps*[2,3,7,11]))!3
}


Back to work

Audio pieces for Annsofie Jonsson's exhibition LUST at Studio Baustelle, Berlin.

30 TEX

29 RII

28 BAG

27 ZAA

26 DES

25 VTI

24 NIA

23 TOR

22 LIN

Experiments and documention of performances and installations by Håkan Jonsson. Several works are based only on field recordings, while others are purely synthetic, created with modular synths or SuperCollider. Electroacoustic tinkerer. Studio Baustelle hangaround. Performs together with Annsofie Jonsson under the name of Hugsten.

Håkan Jonsson

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