http://www.henrikfrisk.com

Henrik Frisk is an active performer (saxophones and laptop) of improvised and contemporary music and a composer of acoustic and computer music. With a special interest in interactivity, most of the projects he engages in explores interactivity in one way or another. Interaction was the main topic for his artistic PhD Dissertation `Improvisation, Computers, and Interaction' which was presented at the Malmö Academy of Music, Lund University in October 2008. Frisk has performed in many countries in Europe, North America and Asia including performances at prestigious festivals such as the Bell Atlantic Jazz Festival, NYC and the Montreux Jazz Festival, Switzerland. As a composer he has received commissions from many institutions, ensembles and musicians. He has made numerous recordings for American, Canadian, Swedish and Danish record labels and is currently a member of the collective Kopasetic Productions which is an independent label owned and run by improvising musicians.

Henrik Frisk je skladatelj in hkrati aktiven glasbenik, improvizator (Saksofon, računalnik). Izvaja in komponira sodobno glasbo za akustične inštrumente in elektroniko. Posebej ga zanimajo koncepti interaktivnosti, ki so prisotni v večini njegovih projektov. Interakcija je bila tudi ključna tema njegove doktorske naloge „Improvizacija, računalniki in interakcija“, ki jo je opravil na Akademiji za Glasbo Malmö. Frisk je nastopil v večih evropskih državah, ZDA, in Aziji, med drugim tudi na prestižnih festivalih kot so Bell Atlantic Jazz Festival, NYC in na Montreux Jazz Festivalu v Švici. Kot skladatelj je prejel več naročil za izvirne skladbe. Posnel je številne plošče pod okriljem Ameriških, Švedskih in Danskih založb. Trenutno je član kolektiva „Kopasetic Productions“, ki je tudi neodvisna založba vodena s strani glasbenikov-improvizatorjev.


Presentation
Musical improvisation and computers: in-time performance.

One of the perhaps more obvious differences between composed and improvised music is the fact that the latter unfolds in real-time, whereas parts of the former is constructed outside of real-time. This is not to say, however, that improvised music is void of compositional strategies, only that the in-time aspect of improvisation - i.e. the way that the practice of improvisation is embedded in time - is one of its important and significant features. Furthermore are the temporal properties of a machine in every respect different from those of a human, something which the computer improviser has to address either in the ways the interface is constructed, or in the ways that the computer instruments are designed (or both). In my presentation I will show how these issues influence both my artistic practice and my research.


Predavanje
Glasbena improvizacija in računalniki: in-time performans.

Ena izmed bolj očitnih razlik med komponirano in improvizirano glasbo je ta, da se slednja odvija v realnem času, medtem, ko so deli prve konstruirani izven realnega časa. Ta trditev naj ne bi zanikala posluževanja kompozicijskih strategij pri improvizirani glasbi, temveč zgolj izpostavila, da je časovni (in-time) aspekt improvizacije oz. način, kako je improvizacijska praksa vključena v koncept časovnosti, eden njenih ključnih karakteristik. Temporalne lastnosti strojne percepcije in reakcije se v vseh aspektih razlikujejo od človeških. V okviru računalniške improvizacije je potrebno te razlike upoštevati/vračunati, in sicer, tako pri konstrukciji vmesnika kot pri konstrukciji inštrumenta. V predstavitvi bom pokazal, kako ti problemi vplivajo na moje umetniško in raziskovalno delo.  


Production: Cankarjev Dom, IRZU, Moderna Galerija