Audio documentation of the installation Cubic Second by Trond Lossius at Hordaland kunstsenter 2006.

This is a recording at the space done using a pair of condenser microphones pointing in opposing directions (180°), with a minimum of post production.

Cubic Second (2006)

Excerpt from sound installation made in 1998. Made using Max and Yamaha MU90-R synth.

Texture 1 (1998)

Excerpt from sound installation made in 1999.

http://www.trondlossius.no/works/3

Texture 3 (1999)

Over to sesonger har Katrine Køster Holst vært gjestekunstner på Ringebu Prestegard og arbeidet med prosjektet Leirens kollaps – derhen og derfra. I grove trekk handler prosjektet om hvordan ti tonn leire i et særpreget rom kan settes i bevegelse og (kanskje) finne ro. Prosjektet har mange forgreninger som hun har arbeidet med alene og sammen med en rekke inviterte gjestekunstnere fra ulike fagfelt.

Sommeren 2021 ble Trond Lossius invitert til å bidra til prosjektet. Det resulterte i et 4-kanal lydarbeid som del av installasjonen. Lydarbeidet er basert på feltopptak fra dalen i Ringebu, områder som man kan se fra de åpne vinduene i fjøset.

Dette er en binaural versjon av lydarbeidet, for hodetelefoner.

Leirens kollaps – derhen og derfra (soundtrack, 2021)

Installation at Surnadal Billag July 2021 by Ingeborg Annie Lindahl nd Trond Lossius. Chalk drawing on wall, coloured light projection and 6 channel sound installation.

Field recordings are mostly from the wetland area in Surnadalsøyra, an edgeland between environmental concerns of importance to bird migrations, recreational areas, industry and landfills.

Binaural version, for headphone listening.

The Transience of Time (soundtrack, 2021)

Regn på rute

A field recording done in the summer of 2012 at night in Dale in Fjaler. 

Sommernatt i Dale, måker på gressslette ved elveosen

This recording is from the dock at Solsvik, a small bay and fishing harbour at the north end of Sotra. Waves can be heard at both sides of the dock. A helicopter pass over as the recording starts. Later on a dog is barking at a distance.

Wind, water, helicopter - Solsvik north at Sotra

Stereo version of sound for the installation "Shades of Change" by Ingeborg Annie Lindahl and Trond Lossius at Stiftelsen 3,14, Bergen, in the summer 2016.

Shades Of Change (2016)

This performance was commissioned by Bergen Assembly as a response to the WITHIN II project by Tarek Atoui Sentralbadet in 2016. Developed on site it explores the particular affordances of the instruments, as well as the communal aspects and issues of hearing and deafness that underpins the WITHIN project. It will also reflect on discrepancies between the ability to hear and a widespread lack of attention and awareness towards our sound surroundings, and a more general ecological and political selective deafness.

Performed by:

Line Horneland
Mir Kamir
Trond Lossius
Mikael Mire
Craig Wells

ABOUT TAREK ATOUI'S WITHIN II IN SENTRALBADET AT BERGEN ASSEMBLY 2016

Using custom-built electronic instruments and computers, musician and sound artist Tarek Atoui’s early works focused on making the human element central to the process of performing and composing sound and electro-acoustic music. Today, his projects radiate around large-scale, collective performances that explore new methods of composition and sound production through research into the history of music and instrumentation.

Since his early visits to Bergen, Atoui was sensitive to the diversity of Bergen’s musical scenes and their synergies with its visual arts scenes. His work at Bergen Assembly is therefore of a collaborative nature. It is based on WITHIN, a project which was first developed with the Sharjah Art Foundation in the United Arab Emirates in 2012. WITHIN was the outcome of conversations with teachers and students from the Al Amal School for Deaf Students in Sharjah and a collaboration with Paris-based curators Grégory Castéra and Sandra Terdjman (Council).

Since then, WITHIN has taken place at the UC Berkeley Art Museum (BAM, Berkeley, USA), the Experimental Music and Performing Arts Center (EMPAC, Troy, USA), and the Center for Art and Media (ZKM, Karlsruhe, Germany).

On these invitations, Atoui continued his exploration into hearing diversities and how deafness can influence the way we understand sound performance, its space and instrumentation. He met a considerable number of individuals and institutions who work on deafness, education and sound and asked them to consider the potential for a musical instrument that addresses both the Deaf and the hearing.

In Bergen, from September 1 to October 1, 2016, alongside an exhibition entitled Infinite Ear by Council, an important chapter of WITHIN takes place at Sentralbadet, an abandoned swimming pool located in central Bergen. The Sentralbadet pools will host an ensemble of nine new musical instruments developed by acoustic instrument makers, speaker designers, software engineers and musicians who have been working with Atoui since 2014.

At regular public rehearsals and concerts, invited composers and performers will activate WITHIN’s instruments with the participation of professional and amateur musicians of different ages and hearing abilities. This will create unique concerts and performances at which audience and musicians will be invited to hear, play and experience sound differently.

Performance responding to Tarek Atoui's Within II

This 30 min radiophonic work was made for ToBe Continued 2016, an original web radio broadcast and concert lasting for 24 hours, during which musicians and sound artists from many parts of the World will be connected to a website that broadcast their concerts. The concert takes place on the World Tuberculosis day.

When I was invited to participate, I wanted to develop a project relating to the scope of the ToBe Continued broadcast initiative, and I decided to do a field recording trip to Luster Sanatorium - Harastølen in Sogn og Fjordane.

Harastølen opened in 1902 as a sanatorium for tuberculosis patients. When tuberculosis ceased being a health issue in Norway after World War II it was repurposed as a psychiatric hospital, and for a few years it was used to host Yugoslav refugees. Since the mid-1990s the building has been abandoned.

Harastølen soundwalk (2016)

Ambisonic reverb etude. A field recording from a back street in Venice serves as a sonic backdrop for a study on ambisonic feedback reverb processing, inspired by e.g. how Eno and Lanois set up shimmer reverbs for some of their recordings.

Decoded to binaural, so please listen using headphones.

Invisible City - Etude

Killer Whales Carousel Feeding. One of the sound scenes as part of the permanent sound installation at Bergen Natural Historic Museum.

Binaural version for headphone listening.

Sound installation is (c) 2019 by Bjarne Kvinnsland, Trond Lossius and David Rothenberg.

Killer Whales Carousel Feeding  - Sound installation in Whale Hall, Bergen Natural Historic Museum

A blue whale passing. One of the sound scenes as part of the permanent sound installation at Bergen Natural Historic Museum.

Binaural version for headphone listening.

Sound installation is (c) 2019 by Bjarne Kvinnsland, Trond Lossius and David Rothenberg.

Blue Whale Passing - Documentation of installation in Whale Hall, Bergen Natural Historic Museum

This is a stereo excerpt of the 12-channel audio track used for my installation "Lines Converging at a Distance" commissioned for the 750 anniversary of Håkon's Hall in Bergen in 2011.

More info can be found here: trondlossius.no/works/38-lines-co…ing-at-a-distance

This track was included on the MUU FOR EARS 9 CD, a collection of Finnish and Norwegian sound art and experimental music: www.muu.fi/site/?p=5785&lang=en

Lines converging at a distance (2011)

Stereo mix of sound material used for the installation "Please Note After Image" by LMW (Trond Lossius- Jon Arne Mogstad - Jeremy Welsh) at the BGO1 Exhibition, Bergen Art Museum (http://kodebergen.no) 2010-11.

This was an installation combining painting, video and 16 channel audio. More information on the work can be found here: http://trondlossius.no/works/36-lmw-please-note-after-image-2010

Please note after image (2010)

I'm a sound and installation artist based in Bergen, Norway. I'm also R&D coordinator at BEK (www.bek.no). In addition to that I'm one of the contributors to Jamoma (www.jamoma.org).

Trond Lossius

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